‫ﺟﺎﻣﻌـﺔ ﺍﳌﺴﻴﻠــﺔ‬

‫ﻛﻠﻴﺔ ﻣﻌﻬﺪ‪ /‬ﺍﻵﺩﺍﺏ ﻭﺍﻟﻌﻠﻮﻡ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ‬

‫ﺍﻟﺮﻗﻢ ﺍﻟﺘﺴﻠﺴﻠﻲ‪................:‬‬ ‫ﻗﺴﻢ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺁﺩﺍ‪‬ﺎ‬

‫ﻣﺬﻛﹼﺮﺓ ﻣﻘﺪ‪‬ﻣﺔ ﻟﻨﻴﻞ ﺷﻬﺎﺩﺓ ﺍﳌﺎﺟﺴﺘﲑ‬

‫ﻓﺮﻉ‪ :‬ﺃﺩﺏ ﺟﺰﺍﺋﺮﻱ ﺣﺪﻳﺚ‬ ‫ﲣﺼﺺ‪ :‬ﺃﺩﺏ ﻋﺮﰊ‬

‫ﺍﻟﻌﻨــﻮﺍﻥ‪:‬‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‬
‫‪-‬ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ‪-‬‬
‫ﺇﻋﺪﺍﺩ ﺍﻟﻄﺎﻟﺒﺔ‪:‬‬
‫ﺑـﺮﺑﺎﺵ ﻣـﺮﻳـﻢ‬
‫ﺍﳌﻨﺎﻗﺸﺔ‪2012/02/15:‬‬ ‫ﺗﺎﺭﻳﺦ‬
‫ﺃﻣﺎﻡ ﳉﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﺍﳌﻜﻮ‪‬ﻧﺔ ﻣﻦ‪:‬‬
‫ﺭﺋﻴﺴـــﺎ‬ ‫ﺃ‪.‬ﺩ‪ :‬ﺍﻟﻌﻤﺮﻱ ﺑﻮﻃﺎﺑﻊ ﺃﺳﺘﺎﺫ ﺍﻟﺘﻌﻠﻴﻢ ﺍﻟﻌﺎﱄ ﺟﺎﻣﻌﺔ ﺍﳌﺴﻴﻠﺔ‬
‫ﻣﺸﺮﻓﺎ ﻭﻣﻘﺮﺭﺍ‬ ‫ﺃﺳﺘﺎﺫ ﳏﺎﺿــﺮ ﺟﺎﻣﻌﺔ ﺍﳌﺴﻴﻠﺔ‬ ‫ﺩ‪ :‬ﺑﻠﺨﲑ ﻋﻘﺎﺏ‬
‫ﳑﺘﺤﻨـــﺎ‬ ‫ﺃﺳﺘﺎﺫ ﳏﺎﺿــﺮ ﺟﺎﻣﻌﺔ ﺍﳌﺴﻴﻠﺔ‬ ‫ﺩ‪ :‬ﻗﻮﻳﺪﺭ ﺷﻨ‪‬ﺎﻥ‬
‫ﳑﺘﺤﻨـــﺎ‬ ‫ﺃﺳﺘﺎﺫ ﳏﺎﺿــﺮ ﺟﺎﻣﻌﺔ ﺳﻄﻴﻒ‬ ‫ﺩ‪ :‬ﺃﳏﻤﺪ ﻋﺰﻭﻱ‬

‫‪2012-2011‬ﻡ‬ ‫ﺍﻟﺴ‪‬ﻨﺔ ﺍﳉﺎﻣﻌﻴﺔ‪:‬‬

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 ‫ﺇ ﻫــﺪﺍء‬

 
 
 
 

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 ‫ﻣﻘﺪّ ﻣـﺔ‪:‬‬
‫ﺗﺘﻮﻓﹼﺮ ﺑﻼﺩﻧﺎ ﺍﳉﺰﺍﺋﺮ ﻋﻠﻰ ﺗﺮﺍﺙ ﺷﻌﱯ ﺿﺨﻢ‪ ،‬ﳝﺜﹼﻞ ﻓﻴﻪ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳊﻴ‪‬ﺰ ﺍﻷﻛﱪ ﻟﺘﻨﻮﻉ‬
‫ﻣﻮﺿﻮﻋﺎﺗﻪ ﻭﺗﻌﺪ‪‬ﺩ ﺃﺟﻨﺎﺳﻪ ﻣﻦ ﺍﳌﺜﻞ ﻭﺍﻷﻏﻨﻴﺔ ﺇﱃ ﺍﳊﻜﺎﻳﺔ ﺑﺄﻧﻮﺍﻋﻬﺎ ﻓﺎﻟﺸﻌﺮ ﺍﻟﺸﻌﱯ ﻭﺍﻟﻠﻐﺰ ﻭﺍﻟﺴﲑﺓ‬
‫ﻭﻏﲑﻫﺎ‪...‬‬
‫ﻭﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻛﻮ‪‬ﺎ ﺟﺰﺀ ﻻ ﻳﺘﺠﺰﺃ ﻣﻦ ﺍﻟﻘﻄﺮ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﻋﺮﻓﺖ ﻫﻲ ﺍﻷﺧﺮﻯ ﺃﺩﺑﺎ ﺷﻌﺒﻴﺎ‬
‫ﳑﻴ‪‬ﺰﺍ‪ .‬ﻣﺜﹼﻞ ﺍﻟﺸﻜﻞ ﺍﻟﻘﺼﺼﻲ ﻗﺴﻤﺎ ﻫﺎﻣ‪‬ﺎ ﻣﻨﻪ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻩ ﲡﺴﻴﺪﺍ ﻟﻮﺍﻗﻊ ﻣﻌﺎﺵ‪ ،‬ﻭﺗﺴﺠﻴﻼ ﻷﺣﺪﺍﺙ‬
‫ﺗﺎﺭﳜﻴﺔ ﻫﺎﻣ‪‬ﺔ‪ ،‬ﻛﻤﺎ ﺃﻧ‪‬ﻪ ﺗﺼﻮﻳﺮ ﳌﻈﺎﻫﺮ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﻋﺎﺩﺍﺕ ﻭﺗﻘﺎﻟﻴﺪ ﻣﺘﺄﺻ‪‬ﻠﺔ ﰲ ﳎﺘﻤﻊ ﺣﻀﲏ‪.‬‬
‫ﻟﻘﺪ ﺍﺭﺗﺒﻂ ﻣﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ ﺑﺸﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﳑﺜﹼﻼ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﺍﻟﱵ ﺍﺭﺗﺴﻤﺖ ﻣﻌﺎﻧﻴﻬﺎ ﻣﻦ ﺻﻮﺭﺓ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﻟﺒﺴﻴﻂ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻭﺍﺳﺘﻤﺪ‪‬ﺕ ﺭﻭﺣﻬﺎ ﻣﻦ‬
‫ﻭﺟﻮﺩﻩ ﺍﳌﻤﺘﺪ ﻋﱪ ﺍﻷﺯﻣﻨﺔ‪.‬‬
‫ﻭﻣﻮﺿﻮﻉ ﻣﺬﻛﺮﰐ ﺍﻟﺬﻱ ﳛﻤﻞ ﻋﻨﻮﺍﻥ "ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ" ‪-‬ﺩﺭﺍﺳﺔ‬
‫ﻣﻴﺪﺍﻧﻴﺔ‪ -‬ﱂ ﻳﻨﺸﺄ ﻣﻦ ﺍﻟﻌﺪﻡ‪ ,‬ﺇﺫ ﻭﻗﺒﻞ ﺍﻟﺸﺮﻭﻉ ﰲ ﺍﳒﺎﺯ ﺍﳌﺬﻛﺮﺓ ﻛﺎﻧﺖ ﻗﺪ ﺗﺒﺎﺩﺭﺕ ﰲ ﺫﻫﲏ ﻓﻜﺮﺓ‬
‫ﻫﻲ ﻏﺎﻳﺔ ﰲ ﺍﻷﳘﻴﺔ ‪,‬ﺗﻘﻮﻡ ﻋﻠﻰ ﺍﳉﻤﻊ ﺑﲔ ﳎﺎﱄ ﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﻷﺩﺏ‪ .‬ﻭﻣﻦ ﻫﻨﺎ ﻭﺣﺴﺐ ﺗﻘﺪﻳﺮﻱ‬
‫ﺗﻈﻬﺮ ﺃﳘﻴﺔ ﺍﳌﻮﺿﻮﻉ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺘﺎﺭﻳﺦ ﻓﻤﺮﺗﺒﻂ ﲟﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺍﻟﱵ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﻗﺪﻣﻬﺎ ﺍﻟﺘﺎﺭﳜﻲ ﺇﻻﹼ ﺃﻧ‪‬ﻬﺎ ﱂ ﲢﻆ ﺑﺄﻱ‬
‫ﺍﻫﺘﻤﺎﻡ ﻣﻦ ﻗﺒﻞ ﺍﳌﺆﺭﺧﲔ ﻭﺍﻟﺪﺍﺭﺳﲔ ﻋﺪﺍ ﺍﻟﻘﻠﺔ ﺍﻟﻘﻠﻴﻠﺔ‪ ،‬ﺣﻴﺚ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻋﻨﻬﺎ ﻣﺘﻨﺎﺛﺮﺓ ﰲ ﻛﺘﺐ‬
‫ﺍﻟﺘﺎﺭﻳﺦ ﻭﺍﳉﻐﺮﺍﻓﻴﺎ ﻭﻛﺘﺐ ﺍﻟﺘﺮﺍﺟﻢ ﺃﻳﻀﺎ‪.‬‬
‫ﻭﻋﻠﻰ ﺍﻟﺮ‪‬ﻏﻢ ﻣﻦ ﺃﻧ‪‬ﲏ ﻟﺴﺖ ﺍﻟﺒﺎﺩﺋﺔ ﻭﻟﻦ ﺃﻛﻮﻥ ﺍﻷﺧﲑﺓ ﺑﺈﺫﻥ ﺍﷲ‪ ،‬ﳑﻦ ﺗﻄﺮﻗﻮﺍ ﻟﺘﺎﺭﻳﺦ ﻣﻨﻄﻘﺔ‬
‫ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺇﻻﹼ ﺃﻧ‪‬ﲏ ﺍﺳﺘﻄﻌﺖ ﺃﻥ ﺃﺭﺻﺪﻩ ﻭﻟﻮ ﻣﻦ ﺯﺍﻭﻳﺘﻪ ﺍﻟﻀﻴﻘﺔ‪ .‬ﺑﺈﻋﻄﺎﺀ ﺇﻃﻼﻟﺔ ﺳﺮﻳﻌﺔ ﻟﻠﻤﻨﻄﻘﺔ ﻋﱪ‬
‫ﺍﻟﺘﺎﺭﻳﺦ‪.‬‬
‫ﻭﺃﻣ‪‬ﺎ ﺍﻷﺩﺏ ﺍﻟﺬﻱ ﻫﻮ ﻣﻮﺿﻮﻉ ﺍﻫﺘﻤﺎﻣﻲ‪ ،‬ﻓﻘﺪ ﺍﺭﺗﺴﻤﺖ ﺻﻮﺭﺗﻪ ﺑﻌﺪ ﺃﻥ ﻭﺿﻌﺖ‪ ‬ﺃﻭﱃ ﻟﺒﻨﺎﺗﻪ‬
‫ﻟﻴﻜﻮﻥ ﺷﻌﺒﻴﺎ ﻻ ﺭﲰﻴﺎ‪ ،‬ﺑﻞ ﻗﺮﻳﺒﺎ ﻣﻦ ﻟﻐﺔ ﺍﻟﺸﻌﺐ ﺍﻟﻌﺎﻣﻴﺔ ﻭﻣﻦ ﻣﻮﻗﻊ ﺍﻷﱂ ﻭﺍﻷﻣﻞ ﻓﻴﻪ‪ .‬ﻟﺘﻜﻮﻥ‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺻﻮﺭﺗﻪ‪ ،‬ﻭﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻴﺪﺍﻧﻴﺔ ﻭﺳﻴﻠﺘﻪ‪.‬‬

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‫ﺇﻥﹼ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﻻ ﻳﻘﻞ ﻗﻴﻤﺔ ﻋﻦ ﺍﻷﺩﺏ ﺍﻟﺮﲰﻲ‪ ،‬ﻓﻔﻨﻮﻧﻪ ﻛﺜﲑﺓ ﻭﻣﺘﻨﻮﻋﺔ‬
‫ﻭﺧﺎﺻﺔ ﺍﻟﻨﺜﺮﻳﺔ ﻣﻨﻬﺎ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﻨﻮﻉ ﺍﻟﺼﺎﺧﺐ ﺇﻻﹼ ﺃﻧ‪‬ﻪ ﻭﻟﻸﺳﻒ ﺑﻘﻲ ﺭﻫﲔ ﺍﳌﺎﺿﻲ‪.‬‬
‫ﺑﻞ ﻗﻞﹼ ﻭﺟﻮﺩﻩ ﺇﻥ ﱂ ﻧﻘﻞ ﺍﻧﻌﺪﻡ ﰲ ﻭﻗﺘﻨﺎ ﺍﳊﺎﺿﺮ‪.‬‬
‫ﻭﺍﻟﺴﺒﺐ ﰲ ﺫﻟﻚ ﻳﺮﺟﻊ ﺇﱃ ﺍﻟﺘﻐﻴ‪‬ﺮ ﺍﳌﻔﺎﺟﺊ ﺍﻟﺬﻱ ﻋﺮﻓﻪ ﺍ‪‬ﺘﻤﻊ ﺍﳉﺰﺍﺋﺮﻱ ﻭﺍﳊﻀﲏ ﻋﻠﻰ‬
‫ﺍﳋﺼﻮﺹ ﺿﻒ ﺇﱃ ﺫﻟﻚ ﺍﻧﺼﺮﺍﻑ ﺍﻟﺪﺍﺭﺳﲔ ﻭﺍﻟﺒﺎﺣﺜﲔ ﻋﻦ ﻣﺜﻞ ﻫﺬﺍ ﺍﻟﻔﻦ ﺇﱃ ﳎﺎﻻﺕ ﺍﻷﺩﺏ‬
‫ﺍﻟﺮﲰﻲ‪ ،‬ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﻳﻌﺘﱪﻫﺎ ﺑﻌﺾ ﺍﻟﺪﺍﺭﺳﲔ ﺑﺄ‪‬ﺎ ﺍﻟﻔﻦ ﺍﻷﻛﺜﺮ ﺩﻻﻟﺔ ﻋﻠﻰ ﺭﻭﺡ ﺍﻟﺸﻌﺐ‬
‫ﻭﺃﻋﻤﺎﻗﻪ ﻭﺍﻷﺻﺪﻕ ﺗﻌﺒﲑﺍ ﻷﻓﻜﺎﺭﻩ ﻭﻣﻌﺘﻘﺪﺍﺗﻪ ﺍﻟﺮﺍﺳﺨﺔ‪ ،‬ﱂ ﺗﻨﻞ ﺣﻈﻬﺎ ﻣﻦ ﺍﻟﻌﻨﺎﻳﺔ ﻭﺍﻟﺘﻨﻘﻴﺐ ﻓﻘﺪ‬
‫ﻇﻠﻤﺖ ﻛﺜﲑﺍ ﲝﻠﻮﻝ ﺍﻷﺟﻬﺰﺓ ﺍﻟﻌﺼﺮﻳﺔ ﻛﺎﻟﺮﺍﺩﻳﻮ ﻭﺍﻟﺘﻠﻔﺰﻳﻮﻥ‪ ،‬ﻭﺃﺻﺒﺤﺖ ﻧﺎﺩﺭﺓ ﺍﳊﻀﻮﺭ ﰲ‬
‫ﺍﻟﺘﺠﻤﻌﺎﺕ‪.‬‬
‫ﻛﻞﹼ ﻫﺬﻩ ﺍﻷﺳﺒﺎﺏ ﺩﻓﻌﺖ ﰊ ﺇﱃ ﺍﻟﻮﻗﻮﻑ ﻋﻨﺪ ﳎﺎﻝ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ ﺍﻟﻮﺍﺳﻊ‪،‬‬
‫ﻟﺪﺭﺍﺳﺘﻪ ﻣﻦ ﺟﺎﻧﺒﻪ ﺍﻟﻀﻴ‪‬ﻖ ﺍﻟﺬﻱ ﲤﺜﻠﻪ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﺫﻟﻚ ﺭﻏﺒﺔ ﻣﻨ‪‬ﻲ ﰲ‬
‫ﲢﻘﻴﻖ ﲨﻠﺔ ﻣﻦ ﺍﻟﻐﺎﻳﺎﺕ ﻳﺄﰐ ﰲ ﻣﻘﺪﻣﺘﻬﺎ‪:‬‬
‫ﺭﻓﻊ ﺍﻟﻈﻠﻢ ﻋﻦ ﻫﺬﺍ ﺍﻟﻔﻦ ﺍﻟﺸﻌﱯ‪ ،‬ﻭ ﺍﻻﻋﺘﺮﺍﻑ ﻟﻪ ﺑﺎﳉﻤﻴﻞ ﳌﺎ ﳛﻮﻳﻪ ﻣﻦ ﺭﻣﻮﺯ ﻓﻨﻴﺔ‬
‫ﻭﺍﺟﺘﻤﺎﻋﻴﺔ ﺭﺍﻗﻴﺔ ﺗﻌﻜﺲ ﺛﻘﺎﻓﺔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ‪.‬‬
‫ﰒﹼ ﺍﻟﺘﻌﺮﻳﻒ ﲟﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺍﻟﱵ ﺗﻌﺘﱪ ﺍﳊﻀﻨﺔ ﻋﺎﺻﻤﺔ ﳍﺎ‪ ،‬ﻣﻦ ﺧﻼﻝ ﻧﻔﺾ ﺍﻟﻐﺒﺎﺭ ﻋﻦ ﺗﺎﺭﳜﻬﺎ‬
‫ﻭﺗﺮﺍﺛﻬﺎ ﺍﻟﺸﻌﱯ ﻭﺇﻇﻬﺎﺭﻩ ﻟﻠﻮﺟﻮﺩ‪.‬‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺃﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺷﺄ‪‬ﺎ ﺷﺄﻥ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﻟﻘﺼﺔ‬
‫ﰲ ﺍﻷﺩﺏ ﺍﻟﺮﲰﻲ‪ ،‬ﳍﺎ ﻧﺺ ﺣﻜﺎﺋﻲ‪ ‬ﻭﳍﺎ ﻣﻘﻮﻣﺎﺕ ﳝﻜﻦ ﺃﻥ ﺗﺪﺭﺱ ﻣﻦ ﺧﻼﳍﺎ‪ ،‬ﺃﻭ ﺑﺼﻮﺭﺓ ﺃﺧﺮﻯ‬
‫ﺇﻇﻬﺎﺭ ﺍﻟﺒﻌﺪ ﺍﻟﻔﲏ ﺑﲔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﻟﺴﺮﺩ ﺍﻟﻘﺼﺼﻲ‪ ،‬ﻭﺗﺒﻴﲔ ﺗﻜﺎﻣﻞ ﺍﻟﺘﻄﻮﺭ ﺍﳌﻨﻬﺠﻲ ﺑﲔ‬
‫ﺍﻟﻨﻮﻋﲔ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺈﻥﹼ ﻋﻤﻠﻲ ﺍﳌﻴﺪﺍﱐ ﺳﺎﻋﺪﱐ ﰲ ﺭﺻﺪ ﺟﺎﻧﺐ ﻛﺒﲑ ﻣﻦ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﺍﳌﺴﻴﻠﻲ‪ ،‬ﻛﻤﺎ‬
‫ﺃﻋﺎﻧﲏ ﻋﻠﻰ ﺗﻮﻓﲑ ﻣﺎﺩﺓ ﺍﻟﺒﺤﺚ‪ ،‬ﺇﻻﹼ ﺃﻥﹼ ﺣﲑﰐ ﲡﺎﻩ ﻫﺬﻩ ﺍﳌﺎﺩﺓ ﺃﻱ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‬
‫ﺗﻨﻮﻋﺖ ﰲ ﳎﻤﻠﻬﺎ‪.‬‬

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 ‫ﻓﻬﻞ ﻳﺎ ﺗﺮﻯ ﳍﺬﻩ ﺍﳊﻜﺎﻳﺔ ﺑﻨﻴﺔ‪ ،‬ﺃﻭ ﻣﺎﺩﺓ ﺣﻜﺎﺋﻴﺔ ﳝﻜﻦ ﺃﻥ ﺗﺪﺭﺱ ﻣﻦ ﺧﻼﳍﺎ ﺷﻜﻼ ﻭﻣﻀﻤﻮﻧﺎ؟‬
‫ﻫﻞ ﻋﻜﺴﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺛﻘﺎﻓﺔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ؟ ﻭﻫﻞ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﱵ ﻋﺎﳉﺘﻬﺎ ﻫﻲ ﻓﻌﻼ‬
‫ﻣﺮﺗﺒﻄﺔ ﺑﺎﳌﻨﻄﻘﺔ ﻭﻣﺴﺘﻤﺪﺓ ﻣﻦ ﻭﺍﻗﻌﻬﺎ ﺍﳌﻌﺎﺵ؟‬
‫ﻫﻞ ﺃﺩ‪‬ﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﻇﻴﻔﺘﻬﺎ ﺩﺍﺧﻞ ﺍ‪‬ﺘﻤﻊ ﺍﳌﺴﻴﻠﻲ؟ ﻭﻓﻴﻢ ﲡﻠﹼﺖ ﻫﺬﻩ ﺍﻟﻮﻇﺎﺋﻒ؟‬
‫ﻟﻺﺟﺎﺑﺔ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﺘﺴﺎﺅﻻﺕ ﻭﻏﲑﻫﺎ‪ ،‬ﺍﻗﺘﻀﺖ ﺍﳊﺎﺟﺔ ﺇﱃ ﺗﻘﺪﱘ ﺍﻟﺒﺤﺚ ﻭﻓﻖ ﺧﻄﹼﺔ‬
‫ﻣﻘﺴﻤﺔ ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﺍﻟﺘﺎﱄ‪:‬‬
‫ﺍﻟﻔﺼﻞ ﺍﻟﺘﻤﻬﻴﺪﻱ‪ :‬ﻭﻓﻴﻪ ﺇﻃﻼﻟﺔ ﻋﻠﻰ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﺣﻴﺚ ﺗﻌﺮﻳﻔﻬﺎ ﺍﻟﻠﻐﻮﻱ‬
‫ﻭﺍﻻﺻﻄﻼﺣﻲ‪ ،‬ﻧﺸﺄ‪‬ﺎ ﻋﻨﺎﺻﺮﻫﺎ‪ ،‬ﻣﻘﻮ‪‬ﻣﺎ‪‬ﺎ‪ ،‬ﰒ ﻣﻨﻄﻠﻘﺎ‪‬ﺎ‪ ،‬ﻓﺈﻃﻼﻟﺔ ﺳﺮﻳﻌﺔ ﻋﻠﻰ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﺍﳉﺰﺍﺋﺮﻳﺔ ﻣﻦ ﺑﺎ‪‬ﺎ ﺍﻟﻮﺍﺳﻊ‪.‬‬
‫ﻳﻠﻴﻪ ﺍﻟﻔﺼﻞ ﺍﻷﻭ‪‬ﻝ‪ ،‬ﺍﻟﺬﻱ ﺧﺼﺼﺘﻪ ﳌﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺣﻴﺚ ﺗﻄﺮﻗﺖ ﻣﻦ ﺧﻼﻟﻪ‬
‫ﳌﻌﻄﻴﺎﺕ ﺍﳌﻨﻄﻘﺔ ﺍﳉﻐﺮﺍﻓﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ‪ ،‬ﻭﺍﻟﻔﻮﻟﻜﻠﻮﺭﻳﺔ‪ ،‬ﻭﻗﺪ ﻛﺎﻥ ﺍﻟﺪﺍﻓﻊ ﻭﺭﺍﺀ ﻛﺘﺎﺑﺘﻪ ﺇﻟﻘﺎﺀ ﺍﻟﻀﻮﺀ‬
‫ﻋﻠﻰ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﻟﱵ ﺃﻋﺘﻘﺪ ﺑﺄ‪‬ﺎ ﱂ ﺗ‪‬ﻌﻂ ﺣﻘﻬﺎ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺔ‪,‬ﺿﻒ ﺇﱃ ﺫﻟﻚ ﳏﺎﻭﻟﺔ ﺍﻟﺮﺑﻂ ﺑﲔ‬
‫ﻫﺬﻩ ﺍﳌﻌﻄﻴﺎﺕ ﻭﺇﻧﺴﺎﻥ ﺍﳌﻨﻄﻘﺔ ﻭﺇﻧﺘﺎﺟﻪ ﺍﻷﺩﰊ ﺍﻟﺸﻌﱯ ﻭﻋﻼﻗﺔ ﺍﻟﻜﻞ ﺑﺒﻌﻀﻪ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﱐ‪ ،‬ﻓﻘﺪ ﺿﻢ‪ ‬ﳏﺎﻭﻟﺔ ﻟﻔﻬﻢ ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﻭﻃﺎﺑﻌﻪ ﺍﻟﻌﺎﻡ ﻣﻦ ﺧﻼﻝ‬
‫ﲨﻠﺔ ﻣﻦ ﺍﻟﻨﻘﺎﻁ ﻫﻲ ﻋﻠﻰ ﺍﻟﺘﻮﺍﱄ‪ :‬ﺇﺷﻜﺎﻟﻴﺔ ﺗﺼﻨﻴﻒ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ‪ ،‬ﻣﻮﺿﻮﻋﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﰒ ﻭﻇﺎﺋﻔﻬﺎ ﻟﺪﻯ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﺃﻳﻀﺎ‪ ،‬ﻭﺍﻟﱵ ﺗﻨﻮﻋﺖ ﺑﲔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ‪،‬‬
‫ﺍﻟﺘﺮﺑﻮﻳﺔ‪ ،‬ﺍﻟﺘﺮﻓﻴﻬﻴﺔ ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﻭﺍﻟﺘﺜﻘﻴﻔﻴﺔ‪.‬‬
‫ﻭﺃﻣﺎ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ ﺍﻟﺬﻱ ﻣﺜﹼﻞ ﺍﳉﺎﻧﺐ ﺍﻟﺘﻄﺒﻴﻘﻲ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻓﻘﺪ ﰎ ﺍﻓﺘﺘﺎﺣﻪ ﲟﺪﺧﻞ‬
‫ﻋﻦ ﺍﳊﻜﺎﻳﺔ ﺍﳌﺴﻴﻠﻴﺔ ﻭﻫﻴﻜﻠﻬﺎ ﺍﻟﻌﺎﻡ‪ ،‬ﻣﺘﺒﻮﻋﺎ ﲟﻠﺨﺼﺎﺕ ﻟﺒﻌﺾ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﻃﺒﻘﺖ‬
‫ﻋﻠﻴﻬﺎ ﺍﻟﺪﺭﺍﺳﺔ‪.‬‬
‫ﰒﹼ ﺭﺻﺪ ﻟﻠﺒﻨﺎﺀ ﺍﻟﻔﲏ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺷﺨﺼﻴﺎ‪‬ﺎ ﺑﺄﻧﻮﺍﻋﻬﺎ‪ ،‬ﻓﺪﺭﺍﺳﺔ ﻟﻠﺒﻨﺎﺋﲔ ﺍﻟﺰ‪‬ﻣﺎﱐ‬
‫ﻭﺍﳌﻜﺎﱐ ﰲ ﺍﳊﻜﺎﻳﺎﺕ‪.‬‬

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‫ﻭ ﻛﺎﻧﺖ ﺧﺎﲤﺔ ﺍﻟﺒﺤﺚ ﺣﻮﺻﻠﺔ ﺿﻤ‪‬ﺖ ﺃﻫﻢ ﺍﻟﻨﺘﺎﺋﺞ ﻭﺍﳌﻼﺣﻈﺎﺕ ﺍﳌﺘﻮﺻﻞ ﺇﻟﻴﻬﺎ ﻣﻦ ﺧﻼﻝ‬
‫ﺭﺣﻠﺔ ﺍﻟﺒﺤﺚ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﳌﻴﺪﺍﻧﻴﺔ ﻭﺍﻟﺘﻄﺒﻴﻘﻴﺔ‪.‬‬
‫ﺗﻠﻰ ﺍﳋﺎﲤﺔ ﻣﻠﺤﻖ ﴰﻞ ﺃﻫﻢ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﺎﺋﻌﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻭﺍﻟﱵ ﺣﺎﻭﻟﺖ ﺟﺮﺩ ﺍﻟﻜﺜﲑ‬
‫ﻣﻨﻬﺎ ﻗﺪﺭ ﺍﳌﺴﺘﻄﺎﻉ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﻘﺪ ﻋﺎﳉﺖ ﻓﺼﻮﻝ ﻣﺬﻛﺮﰐ ﻣﻌﺘﻤﺪﺓ ﻋﻠﻰ ﺍﳌﺰﺍﻭﺟﺔ ﺑﲔ ﺍﳌﻨﻬﺠﲔ ﺍﻟﻮﺻﻔﻲ‬
‫ﻭﺍﻟﺘﺎﺭﳜﻲ‪ ،‬ﻫﺬﺍ ﺍﻷﺧﲑ ﺍﻟﺬﻱ ﺍﻋﺘﻤﺪﺗﻪ ﰲ ﺗﺘﺒ‪‬ﻊ ﺗﺎﺭﻳﺦ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺃﻣﺎ ﺍﻟﻮﺻﻔﻲ‬
‫ﻓﺎﺳﺘﻌﻤﻠﺘﻪ ﰲ ﻗﺮﺍﺀﺓ ﻭﲢﻠﻴﻞ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻛﻤﺎ ﺳﺎﻋﺪﱐ ﻋﻠﻰ ﺗﻘﺪﱘ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺍﳌﺘﻌﻠﻘﺔ ﲟﻨﻄﻘﺔ‬
‫ﺍﻟﺒﺤﺚ ﺃﻳﻀﺎ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﻣﻌﻄﻴﺎﺕ ﺍﻟﺪﺭﺍﺳﺔ ﻣﺎ ﻛﺎﻧﺖ ﻟﺘﻴﻨﻊ ﻟﻮﻻ ﺍﺳﺘﻔﺎﺩ‪‬ﺎ ﻣﻦ ﺃﻫﻢ ﻣﺎ ﺟﺎﺩﺕ‬
‫ﺑﻪ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﻛﻜﺘﺎﺏ‪:‬‬
‫‪-‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ ﶈﻤﺪ ﺳﻌﻴﺪﻱ‪.‬‬
‫‪-‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ ﻟﻨﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ ﻭﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‬
‫ﻟﻨﻔﺲ ﺍﳌﺆﻟﻔﺔ‪.‬‬
‫‪-‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ ﻟﺮﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪.‬‬
‫‪-‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪ ،‬ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ ﻟﻌﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪.‬‬
‫‪ -‬ﻣﻨﻄﻠﻘﺎﺕ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﻟﻠﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪.‬‬
‫ﺃﻣﺎ ﺻﻌﻮﺑﺎﺕ ﺍﻟﺒﺤﺚ ﻓﻘﺪ ﻭﺍﺟﻬﺘﲏ ﻣﻨﺬ ﺍﺧﺘﻴﺎﺭﻱ ﳌﻮﺿﻮﻋﻪ ﺇﺫ ﻭﺟﺪﺕ ﻧﻔﺴﻲ ﺃﺭﺗﺎﺩ ﻣﻴﺪﺍﻧﺎ‬
‫ﳎﻬﻮﻻ ﺭﻏﻢ ﺧﺼﻮﺻﻴﺘﻪ‪ ،‬ﻣﺘﺸﻌﺐ ﺍﻟﺴﺒﻞ‪ ،‬ﺩﻭﻥ ﺩﻟﻴﻞ ﻣﻦ ﺩﺭﺍﺳﺎﺕ ﻧﻘﺪﻳﺔ ﺃﻭ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻋﺪﺍ ﺍﻟﻘﻠﺔ‬
‫ﺍﻟﻘﻠﻴﻠﺔ‪ ،‬ﺿﻒ ﺇﱃ ﺫﻟﻚ ﺻﻌﻮﺑﺔ ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﺍﳌﺎﺩﺓ ﺍﻟﺸﻌﺒﻴﺔ ﻭﻧﺪﺭ‪‬ﺎ ﻭﺗﺸﺘ‪‬ﺘﻬﺎ‪ ،‬ﻓﻜﺎﻥ ﻋﻠﻲ‪ ‬ﺃﻥ‬
‫ﺃﲝﺚ ﻭﺃﲨﻊ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺘﻨﺎﺛﺮﺓ ﻣﻦ ﺃﻓﻮﺍﻩ ﺭﻭﺍ‪‬ﺎ‪ ،‬ﻭﻗﺒﻞ ﺫﻟﻚ ﺻﻌﻮﺑﺔ ﺍﻻﺗﺼﺎﻝ ‪‬ﻢ‬
‫ﻭﺻﻌﻮﺑﺔ ﺇﻗﻨﺎﻋﻬﻢ ﲜﺪﻳﺔ ﺍﻟﻌﻤﻞ ﻓﻴﻤﺎ ﺑﻌﺪ‪ .‬ﻭﻫﺬﺍ ﻃﺒﻴﻌﻲ ﻷﻥ "ﺻﻌﻮﺑﺎﺕ ﺍﻟﺒﺤﺚ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‬
‫ﺣﻘﻴﻘﺔ ﻣﻠﻤﻮﺳﺔ ﻭﻛﺜﲑﺍ‬

‫‪-7-‬‬
‫ﻣﺎ ﺍﻛﺘﻮﻯ ﲜﻤﺮ‪‬ﺎ ﺍﶈﺮﻗﺔ ﺍﳌﻬﺘﻤﻮﻥ ﺍﻟﺬﻳﻦ ﻇﻠﻮﺍ ﻭﻣﺎ ﺯﺍﻟﻮﺍ ﻳﺘﺨﺒﻄﻮﻥ ﰲ ﻓﻀﺎﺋﻬﺎ ﺍﳌﻌﻘﺪ ﺍﳌﺘﺸﺎﺑﻚ‬
‫) ‪(1‬‬
‫ﺍﻟﻐﺎﻣﺾ"‪.‬‬
‫ﺃﺿﻒ ﺇﱃ ﺫﻟﻚ ﺍﺭﺗﺒﺎﻃﻲ ﺑﺄﻋﻤﺎﻝ ﺍﻟﺘﺪﺭﻳﺲ ﺍﻟﱵ ﺃﺧﺬﺕ ﻛﻞ ﻭﻗﱵ‪ ،‬ﻭﻟﻜﻦ ﺭﻏﻢ ﻫﺬﻩ‬
‫ﺍﻟﺼﻌﻮﺑﺎﺕ ﺇﻻﹼ ﺃﻥ ﻣﺘﻌﺔ ﺍﳌﻮﺿﻮﻉ ﻭﻃﺮﺍﻓﺘﻪ ﺃﻧﺴﺘﲏ ﺇﻳ‪‬ﺎﻫﺎ ﺑﻞ ﻭﺟﻌﻠﺘﲏ ﺃﺿﺎﻋﻒ ﳎﻬﻮﺩﺍﰐ ﻗﺪﺭ‬
‫ﺍﳌﺴﺘﻄﺎﻉ ﰲ ﺳﺒﻴﻞ ﺗﻘﺪﳝﻬﺎ ﰲ ﺻﻮﺭﺓ ﻻﺋﻘﺔ‪.‬‬
‫ﰲ ﺍﳋﺘﺎﻡ ﺃﺗﻘﺪﻡ ﲜﺰﻳﻞ ﺍﻟﺸﻜﺮ ﻭﻋﻈﻴﻢ ﺍﻻﻣﺘﻨﺎﻥ ﺇﱃ ﺃﺳﺘﺎﺫﻱ ﺍﻟﻔﺎﺿﻞ ﺍﻟﺪﻛﺘﻮﺭ "ﻋﻘﺎﺏ ﺑﻠﺨﲑ"‬
‫ﺍﻟﺬﻱ ﻟﻪ ﻓﻀﻞ ﺍﻟﺘﻮﺟﻴﻪ ﻭﺍﻟﻌﻨﺎﻳﺔ‪ ،‬ﻭﻗﺪ ﺷﺮ‪‬ﻓﲏ ﺑﺈﺷﺮﺍﻓﻪ ﻋﻠﻰ ﻋﻤﻠﻲ‪ ،‬ﻭﻋﻠﻰ ﺳﻌﺔ ﺻﺪﺭﻩ‪ ،‬ﻛﻤﺎ ﺃﺗﻘﺪﻡ‬
‫ﲜﺰﻳﻞ ﺍﻟﺸﻜﺮ ﺇﱃ ﺍﻟﻠﺠﻨﺔ ﺍﳌﻨﺎﻗﺸﺔ ﳍﺬﺍ ﺍﻟﺒﺤﺚ ﺍﻟﺬﻱ ﺳﻴﺘﺸﺮﻑ ﺑﺘﻘﻴﻴﻤﻬﺎ ﻭ ﻣﻼﺣﻈﺎ‪‬ﺎ ﻭﺟﺰﻳﻞ‬
‫ﺍﻟﺸﻜﺮ ﻟﻜﻞ ﻣﻦ ﺳﺎﻫﻢ ﰲ ﺗﻘﺪﱘ ﻳﺪ ﺍﻟﻌﻮﻥ ﻭﺍﳌﺴﺎﻋﺪﺓ ﻣﻦ ﻗﺮﻳﺐ ﺃﻭ ﺑﻌﻴﺪ‪.‬‬
‫ﺃﺧﲑﺍ ﺃﲤﲎ ﺃﻥ ﺃﻛﻮﻥ ﻗﺪ ﻻﻣﺴﺖ ﺑﺪﺭﺍﺳﱵ ﻫﺬﻩ ﺟﺰﺀﺍ ﻣﻦ ﺃﺩﺑﻨﺎ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ ‪.‬‬

‫ﻭﺍﷲ ﻫﻮ ﺍﳌﻮﻓﻖ‪.‬‬

‫)‪ -(1‬ﳏﻤﺪ ﺳﻌﻴﺪﻱ ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪.‬ﻁ(‪ ،1998 ،‬ﺹ ‪. 06‬‬
‫‪-8-‬‬
 ‫‪ ‬‬

‫اﻟﻔﺻل اﻟﺗﻣﮭﯾدي‬
‫ﻣﺎھﯾﺔ اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‬
‫‪‬أوﻻ ‪ -‬ﺗﻌرﯾف اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ ‪.‬‬
‫ﺛﺎﻧﯾﺎ ‪ -‬ﻧﺷﺄة اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‪.‬‬
‫ﺛﺎﻟﺛﺎ ‪ -‬ﻋﻧﺎﺻر اﻟﺣﻛﺎﯾﺔ اﻟﺷ ّﻌﺑﯾﺔ‪.‬‬
‫راﺑﻌﺎ‪ -‬أﻧواع اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‪.‬‬
‫ﺧﺎﻣﺳﺎ‪ -‬ﻣﻘو ّ ﻣﺎت اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‬
‫وﻣﻣﯾزاﺗﮭﺎ‪.‬‬
‫ﺳﺎدﺳﺎ ‪ -‬ﻣﻧطﻠﻘﺎت اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‪.‬‬
‫ﺳﺎﺑﻌﺎ ‪ -‬اﻟﺣﻛﺎﯾﺔ اﻟﺷ ّﻌﺑﯾﺔ اﻟﺟزاﺋرﯾﺔ‪.‬‬

‫‪-9-‬‬
 ‫أوﻻ ‪ -‬ﺗﻌﺮﻳﻒ اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫‪ -1‬ﻟﻐـﺔ ‪ :‬ﺇﻥﹼ ﺍﻟﺒﺤﺚ ﰲ ﺣﻘﻴﻘﺔ ﻣﺼﻄﻠﺢ ﺣﻜﺎﻳﺔ ﺍﻟﻠﻐﻮﻱ ﻳﺴﺘﺪﻋﻲ ﻣﻨ‪‬ﺎ ﺍﻟﻮﻗﻮﻑ ﻋﻨﺪ ﺃﻫﻢ‪ ‬ﻣﺎ‬
‫ﺟﺎﺩﺕ ﺑﻪ ﻣﻌﺎﺟﻢ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﺑ‪‬ﻐﻴﺔ ﺿﺒﻂ ﺍﳌﻔﻬﻮﻡ ﺍﻟﻠﻐﻮﻱ ﳍﺎ‪.‬‬
‫ﺟﺎﺀ ﰲ ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ)‪ :(1‬ﺍﳊﻜﺎﻳﺔ ﻣﻦ ﺣﻜﻰ ﳛﻜﻲ‪ ،‬ﻛﻘﻮﻟﻚ ﺣﻜﻴﺖ ﻓﻼﻧﺎ ﻭﺣﺎﻛﻴﺘﻪ‪ :‬ﻓﻌﻠﺖ ﻣﺜﻞ‬
‫ﻓﻌﻠﻪ ﺃﻭ ﻗﻠﺖ ﻣﺜﻞ ﻗﻮﻟﻪ‪ ،‬ﻭﺣﻜﻴﺖ ﻋﻨﻪ ﺍﳊﺪﻳﺚ ﺣﻜﺎﻳﺔ‪ ،‬ﻭﺣ‪‬ﻜﻮﺕ ﻋﻨﻪ ﺣﺪﻳﺜﺎ ﰲ ﻣﻌﲎ ﺣﻜﻴﺘﻪ‪،‬‬
‫ﻭﰲ ﺍﳊﺪﻳﺚ ﻣﺎ ﺳﺮ‪‬ﱐ ﺃﱐ ﺣﻜﻴﺖ ﻓﻼﻧﺎ ﻭﺃﻥﹼ ﱄ ﻛﺬﺍ ﻭﻛﺬﺍ ﺃﻱ ﻓﻌﻠﺖ ﻣﺜﻞ ﻓﻌﻠﻪ‪.‬‬
‫ﻳ‪‬ﻘﺎﻝ‪ :‬ﺣﻜﺎﻩ ﻭﺣﺎﻛﺎﻩ ﻭﺃﻛﺜﺮﻫﺎ ﻳ‪‬ﺴﺘﻌﻤﻞ ﰲ ﺍﻟﻘﺒﻴﺢ‪.‬‬
‫ﻭﺍﳊﻜﺎﻳﺔ ﻛﻞﱞ ﻣﻦ ﺍﳉﺬﺭ ﺍﻟﺜﻼﺛﻲ ﻣﻌﻠﻮﻝ ﺍﻵﺧﺮ ﻟﻠﻔﻌﻞ" ﺣ‪‬ﻜﹶﻰ"‬
‫ﻳﻌﺮ‪‬ﻓﻬﺎ ﻋﻠﻲ ﺑﻦ ﺇﲰﺎﻋﻴﻞ ﺑﻦ ﺳﻴﺪﺓ )‪ (2‬ﰲ ﺍﻷﻣﺜﻠﺔ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫ﺣﻜﻴﺖ ﻓﻼﻧﺎ ﻭﺣﺎﻛﻴﺘﻪ ﻓﻌﻠﺖ ﻣﺜﻠﻪ ﺃﻭ ﻗﻠﺖ ﻣﺜﻞ ﻗﻮﻟﻪ ﺳﻮﺍﺀ ﱂ ﺃﺟﺎﻭﺯﻩ ﻣﺎ ﺍﺣﺘﻜﻰ ﺫﻟﻚ ﰲ‬
‫ﺻﺪﺭﻱ ﺃﻱ ﻣﺎ ﻭﻗﻊ ﻓﻴﻪ‪.‬‬
‫ﻭﰲ ﺍﳉﻤﻠﺔ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫" ﺃﺣﻜﻴﺖ ﺍﻟﻌﻘﺪﺓ"‪ :‬ﺃﻱ ﺷﺪﺩ‪‬ﺎ ‪.‬‬
‫ﻭﺭﻭﻯ ﺛﻌﻠﺒﺔ ‪:‬‬
‫ﻓﹶﻮ‪‬ﻕ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺃﹶﺣ‪‬ﻜﹶﻰ ﺑﹺﺼ‪‬ﻠﹾﺐﹺ ﻭ‪‬ﺇﹺﺯ‪‬ﺍﺭﹺ‬ ‫ﺃﹶﺟ‪‬ﻞﹾ ﺇﹺﻥﱠ ﺍﻟﻠﹶﻪ‪ ‬ﻗﹶﺪ‪ ‬ﻓﹶﻀ‪‬ﻠﹶﻜﹸﻢ‪‬‬
‫ﺃﻱ‪ :‬ﻓﻮﻕ ﻣﻦ ﺷﺪ‪ ‬ﺇﺯﺍﺭﻩ ﻋﻠﻴﻪ‪.‬‬
‫ﻭ ﺣﻜﻰ ﳛﻜﻲ ﺍﳋﱪ ﺣﻜﺎﻳﺔ ﺃﻱ ﻭﺻﻔﻪ‬
‫ﻭﺣﻜﻰ ﻋﻨﻪ ﺍﻟﻜﻼﻡ‪ ،‬ﺃﻱ ﻧﻘﻠﻪ ﻓﻬﻮﺣﺎﻙ ﲨﻌﻪ ﺣﻜﺎﺓ‬
‫ﻭﺣﻜﻰ ﺣﺎﻛﻴ‪‬ﺎ ﰲ ﺍﺻﻄﻼﺡ ﺍﻟﻌﺎﻣﺔ ﺗﻜﻠﹼﻢ ﻣﻄﻠﻘﺎ‪.‬‬
‫ﻭﺣﻜﻰ ﻓﻼﻥ ﻋﻦ ﻓﻼﻥ ﻧ‪‬ﻢ‪ ‬ﻋﻠﻴﻪ ﻣﻦ ﺍﻟﻨ‪‬ﻤﻴﻤﺔ‬
‫) ‪(3‬‬
‫ﻭﺍﳊﻜﺎﻳﺎﺕ ﻣﺼﺪﺭ ﺍﻟﻔﻌﻞ"ﺣﻜﻰ"‪،‬ﻭﻫﻲ ﻭﺻﻒ ﺍﻟﻮﺍﻗﻌﺔ ﺣﻘﻴﻘﻴﺔ ﺃﻭ ﺧﻴﺎﻟﻴﺔ ﲨﻌﻬﺎ ﺣﻜﺎﻳﺎﺕ‬

‫)‪ (1‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﺇﻋﺪﺍﺩ ﻭﺗﺼﻨﻴﻒ‪ :‬ﻳﻮﺳﻒ ﺧﻴ‪‬ﺎﻁ‪ ،‬ﻧﺪﱘ ﻣﺮﻋﺸﻠﻲ‪ ،‬ﺩﺍﺭ ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ ‪ ،‬ﺑﲑﻭﺕ‪)،‬ﺩ ‪.‬ﻁ(‪ ،‬ﻣﺞ‪ ،2‬ﺹ‪.690‬‬
‫)‪ (2‬ﺍﺑﻦ ﺳﻴﺪﺓ‪ :‬ﺍﶈﻜﻢ ﻭﺍﶈﻴﻂ ﺍﻷﻋﻈﻢ ﰲ ﺍﻟﻠﻐﺔ‪،‬ﺕ‪ :‬ﻋﺎﺋﺸﺔ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﺑﻨﺖ ﺍﻟﺸﺎﻃﺊ‪،‬ﻁ‪، 2‬ﺝ‪ ، 3‬ﺹ‪.316‬‬
‫)‪ (3‬ﺍﳌﻨﺠﺪ ﺍﻷﲜﺪﻱ‪ :‬ﺩﺍﺭ ﺍﳌﺸﺮﻕ؛ ﺑﲑﻭﺕ‪ ،‬ﻁ‪) ،5‬ﺩ ﺕ(‪ ،‬ﺹ‪.377‬‬
‫‪- 10 -‬‬
‫ﺇﺫﻥ ﻟﻔﻈﺔ ﺣﻜﺎﻳﺔ ﻣﺪﻟﻮﳍﺎ ﺍﻟﻠﻐﻮﻱ ﺷﺎﺳﻊ‪ ،‬ﻓﻬﻲ ﺍﳌﻤﺎﺛﻠﺔ ﻭﺍﻟﺘﻜﻠﹼﻢ ﻣﻄﻠﻘﹰﺎ ﻭﺍﻷﻫﻢ ﰲ ﺍﻷﻣﺮ ﻛﻠﹼﻪ‬
‫ﻫﻲ ﺍﻟﻮﺻﻒ ﻟﻠﻮﻗﺎﺋﻊ ﺍﳊﻘﻴﻘﻴﺔ ﺃﻭ ﺍﳋﻴﺎﻟﻴﺔ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳﻬﻤ‪‬ﻨﺎ‪.‬‬
‫‪ -2‬ﺍﺻﻄﻼﺣﺎ‪:‬‬
‫ﻗﺪ‪‬ﻡ ﺍﻟﺒﺎﺣﺜﻮﻥ ﻟﻠﻘﺼ‪‬ﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﻌﺮﻳﻔﺎﺕ ﻣﺘﻨﻮ‪‬ﻋﺔ‪ ،‬ﻛﻤﺎ ﺃﻃﻠﻘﺖ ﻋﻠﻴﻬﺎ ﺗﺴﻤﻴﺎﺕ ﻋﺪﻳﺪﺓ ﰲ‬
‫ﺍﳌﺸﺮﻕ ﻭﺍﳌﻐﺮﺏ‪.‬‬
‫ﻓﻤﻨﻬﻢ ﻣﻦ ﻳﺴﻤﻴﻬﺎ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﻣﻨﻬﻢ ﻣﻦ ﻳﺴﻤ‪‬ﻴﻬﺎ ﺍﳋﹸﺮﺍﻓﺔ ﻭﺁﺧﺮﻭﻥ ﻳﻄﻠﻘﻮﻥ ﻋﻠﻴﻬﺎ ﺍﻷﺳﻄﻮﺭﺓ‪.‬‬
‫ﺇﻥﹼ ﺍﻟﻔﻜﺮﺓ ﺍﻟﻮﺣﻴﺪﺓ ﻭﺍﳍﺪﻑ ﺍﻷﻭﺣﺪ ﻣﻦ ﺩﺭﺍﺳﺔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻲ ﺍﻟﻜﺸﻒ ﻋﻦ ﻫﺬﺍ‬
‫ﺍﻟﻜﻨﺰ ﺍﻟﺮﻭﺣﻲ ﺍﻟﺸﻌﱯ‪ ،‬ﻓﺘﻌﺮﻳﻒ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺻﻌﺐ‪ ،‬ﺇﺫ ﻫﻲ ﻟﻴﺴﺖ ﻛﺎﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﺃﻭ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﱵ ﺗﻌﺮ‪‬ﻑ ﻧﻔﺴﻬﺎ ﺑﻨﻔﺴﻬﺎ‪ ،‬ﻭﺣﻴﺚ ﺃﻥ ﻛﻞﹼ ﻧﻮﻉ ﻳﺘﺤﺪ‪‬ﺩ ﰲ ﺫﺍﺗﻪ ﻭﻻ ﳜﺘﻠﻂ ﺑﻐﲑﻩ ﻓﺈﻧﻨﺎ‬
‫ﳒﺪ ﻫﻨﺎ ﻣﻴﺴﺮ‪‬ﺍ ﰲ ﺗﻌﺮﻳﻒ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪.‬‬
‫ﺗﺮﻯ ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ ﺃﻥ ﺗﻌﺮﻳﻔﻬﺎ ﻳﺘﻴﺴﺮ ﻟﻨﺎ ﺇﺫﺍ ﺭﺟﻌﻨﺎ ﺇﱃ ﺍﳌﻌﺎﺟﻢ ﺍﻷﺟﻨﺒﻴﺔ ﺣﻴﺚ ﺃﻥ ﺍﳌﻌﺎﺟﻢ‬
‫ﺍﻷﳌﺎﻧﻴﺔ ﺗﻌﺮ‪‬ﻓﻬﺎ ﺑﺄ‪‬ﺎ "ﺍﳋﱪ ﺍﻟﺬﻱ ﻳﺘﺼﻞ ﲝﺪﺙ ﻗﺪﱘ ﻳﻨﺘﻘﻞ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺸﻔﻮﻳﺔ ﻣﻦ ﺟﻴﻞ ﺇﱃ‬
‫) ‪(1‬‬
‫ﺟﻴﻞ ﺃﻭ ﻫﻲ ﺧﻠﻖ ﺣﺮ ﻟﻠﺨﻴﺎﻝ ﺍﻟﺸﻌﱯ ﻳﻨﺘﺠﻪ ﺣﻮﻝ ﺣﻮﺍﺩﺙ ﻣﻬﻤﺔ ﻭﺷﺨﻮﺹ ﻭﻣﻮﺍﻗﻊ ﺗﺎﺭﳜﻴﺔ"‬
‫ﺃﻣﺎ ﺍﳌﻌﺎﺟﻢ ﺍﻻﳒﻠﻴﺰﻳﺔ ﻓﺘﻌﺮ‪‬ﻓﻬﺎ ﺑﺄﻧ‪‬ﻬﺎ‪" :‬ﺣﻜﺎﻳﺔ ﻳﺼﺪﻗﻬﺎ ﺍﻟﺸﻌﺐ ﺑﻮﺻﻔﻬﺎ ﺣﻘﻴﻘﺔ‪ ،‬ﻭﻫﻲ ﺗﺘﻄﻮ‪‬ﺭ‬
‫ﻣﻊ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﻭﺗﺘﺪﺍﻭﻝ ﺷﻔﺎﻫ‪‬ﺎ ‪،‬ﻛﻤﺎ ﺃﻧ‪‬ﻬﺎ ﻗﺪ ﲣﺘﺺ ﺑﺎﳊﻮﺍﺩﺙ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﻟﺼﺮﻓﺔ ﺃﻭ ﺍﻷﺑﻄﺎﻝ ﺍﻟﺬﻳﻦ‬
‫ﻳﺼﻨﻌﻮﻥ ﺍﻟﺘﺎﺭﻳﺦ")‪.(2‬‬
‫ﻭﻳﻌﺮ‪‬ﻓﻬﺎ ﻣﻌﺠﻢ ﻓﺎﻧﺞ ﺭﻭﺍﺟﻴﺎﻝ ﻟﻠﻔﻨﻮﻥ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺄ‪‬ﺎ‪" :‬ﺣﻜﺎﻳﺎﺕ ﻭﻗﺼﺺ ﺣﺪﺛﺖ ﰲ ﺍﻟﻌﺼﻮﺭ‬
‫) ‪(3‬‬
‫ﺍﻟﻘﺪﳝﺔ‪ ،‬ﻭﺗﻮﺍﺭﺛﺘﻬﺎ ﺍﻷﺟﻴﺎﻝ ﺷﻔﻮﻳﺎ ﻣﻦ ﺍﻷﺟﻨﺎﺱ ﻭﺍﻷﻣﻢ"‬
‫ﺇﻥﹼ ﺍﻟﺘﻌﺎﺭﻳﻒ ﺍﻟﺴﺎﺑﻘﺔ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﺘﻔﻖ ﻋﻠﻰ ﺃ‪‬ﺎ ﻗﺼﺔ ﻳﻨﺘﺠﻬﺎ ﺍﳋﻴﺎﻝ ﺍﻟﺸﻌﱯ ﺣﻮﻝ‬
‫ﺣﺪﺙ ﻣﻬﻢ‪ ،‬ﻭﻳﺴﺘﻤﺘﻊ ﺍﻟﺸﻌﺐ ﺑﺮﻭﺍﻳﺘﻬﺎ ﻭﺗﻨﺎﻗﻠﻬﺎ ﻣﻦ ﺟﻴﻞ ﺇﱃ ﺁﺧﺮ ﻋﻦ ﻃﺮﻳﻖ ﺍﳌﺸﺎﻓﻬﺔ ‪.‬‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪،‬ﺩﺍﺭ ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ ﻟﻠﻄﺒﺎﻋﺔ ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻁ‪1991 ،1‬ﻡ‪ ،‬ﺹ‪.19‬‬
‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.19‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.19‬‬
‫‪- 11 -‬‬
‫ﻭﻫﻨﺎﻙ ﻣﻦ ﻳﺮﺍﻫﺎ "ﻣﺮﺍﺩﻓﺔ ﻟﻸﺩﺏ ﺍﻟﺸﻌﱯ ﻓﻬﻲ ﺗﺘﻨﻮﻉ ﻭﻓﻘﺎ ﻷﻫﺪﺍﻑ ﺛﻼﺙ ﺑﻮﺟﻪ ﻋﺎﻡ ﲤﺠﻴﺪ‬
‫ﺃﻓﻌﺎﻝ ﺍﻷﺟﺪﺍﺩ‪ ،‬ﻭﺍﻟﺘﺪﺍﻭﻝ ﺍﻟﻔﲏ ﻟﻸﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ‪ ،‬ﻭﺍﻟﺘﺴﺠﻴﻞ ﺍﻟﻮﺍﻗﻌﻲ ﻷﺣﺪﺍﺙ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﻭﻣﺎ‬
‫) ‪(1‬‬
‫ﺇﱃ ﺫﻟﻚ"‪.‬‬
‫ﻓﻬﺬﺍ ﺍﳌﻔﻬﻮﻡ ﺟﻌﻞ ﺍﻟﻘﺼﺔ ﻭﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﰲ ﻣﺮﺗﺒﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻭﺫﻟﻚ ﻻ ﳝﻜﻦ ﻷﻥ ﺍﻟﻘﺼﺔ‬
‫ﺟﺰﺀ ﻣﻦ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﰲ ﺣﲔ ﺃﻥ ﻧﻄﺎﻕ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﻭﺍﺳﻊ ﺟﺪ‪‬ﺍ‪,‬ﻛﻤﺎ ﻳﺮﻣﻲ ﺍﻟﺘﻌﺮﻳﻒ ﺍﻟﺴﺎﺑﻖ‬
‫ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺇﱃ ﻭﺿﻊ ﺃﻫﺪﺍﻑ ﺛﻼﺛﺔ ﳍﺎ ﺗﺘﻤﺜﻞ ﰲ ‪:‬‬
‫ﲤﺠﻴﺪ ﺃﻓﻌﺎﻝ ﺍﻷﺟﺪﺍﺩ ﻭﺍﻷﺑﻄﺎﻝ ﻭﺍﻟﺘﺄﺭﻳﺦ ﳍﺎ‪ ،‬ﻭﺍﻟﺘ‪‬ﺪﺍﻭﻝ ﺍﻟﻔﻨ‪‬ﻲ ﻟﻸﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ ﻭﺍﻟﺘﺴﺠﻴﻞ ﺍﻟﻮﺍﻗﻌﻲ‬
‫ﻷﺣﺪﺍﺙ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ‪.‬‬
‫" ﺇﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻗﺼﺔ ﻳﻨﺴﺠﻬﺎ ﺍﳋﻴﺎﻝ ﺍﻟﺸﻌﱯ ﺣﻮﻝ ﺣﺪﺙ ﻣﻬﻢ‪ ،‬ﻭﺇﻥﹼ ﻫﺬﻩ ﺍﻟﻘﺼ‪‬ﺔ ﻳﺴﺘﻤﺘﻊ‬
‫ﺍﻟﺸﻌﺐ ﺑﺮﻭﺍﻳﺘﻬﺎ ﻭﺍﻻﺳﺘﻤﺎﻉ ﺇﻟﻴﻬﺎ ﺇﱃ ﺩﺭﺟﺔ ﺃﻧ‪‬ﻪ ﻳﺴﺘﻘﺒﻠﻬﺎ ﺟﻴﻼ ﺑﻌﺪ ﺟﻴﻞ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺮﻭﺍﻳﺔ‬
‫ﺍﻟﺸﻔﻬﻴﺔ" )‪.(2‬‬
‫ﻓﹶﻤﻦ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﱵ ﺿﻤﻨﺖ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺒﻘﺎﺀ ﺇﺫﺍ ﺍﳌﺸﺎﻓﻬﺔ ﺍﻟﱵ ﲰﺤﺖ ﺑﺘﻨﺎﻗﻠﻬﺎ ﻋﱪ ﺍﻷﺟﻴﺎﻝ‪.‬‬
‫ﻳﻌﺮ‪‬ﻓﻬﺎ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ ﻗﺎﺋﻼ‪:‬‬
‫" ﻳﻜﻮﻥ ﺍﺻﻄﻼﺡ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻓﻀﻔﺎﺿﺎ‪ ،‬ﻳﺴﺘﻮﻋﺐ ﺫﻟﻚ ﺍﳊﺸﺪ ﺍﳍﺎﺋﻞ ﻣﻦ ﺍﻟﺴﺮﺩ ﺍﻟﻘﺼﺼﻲ‬
‫ﺍﻟﺬﻱ ﺗﺮﺍﻛﻢ ﻋﱪ ﺍﻷﺟﻴﺎﻝ ﻭﺍﻟﺬﻱ ﺣﻘﹼﻖ ﺑﻮﺍﺳﻄﺘﻪ ﺍﻹﻧﺴﺎﻥ ﻛﺜﲑ‪‬ﺍ ﻣﻦ ﻣﻮﺍﻗﻔﻪ‪ ،‬ﻭﺭﺻﺪ ﺍﳉﺎﻧﺐ ﺍﻟﻜﺒﲑ‬
‫) ‪(3‬‬
‫ﻣﻦ ﻣﻌﺎﺭﻓﻪ‪ ،‬ﻭﻟﻴﺲ ﻭﻗﻔﺎ ﻋﻠﻰ ﲨﺎﻋﺔ ﺩﻭﻥ ﺃﺧﺮﻯ ﻭﻻ ﻳﻐﻠﺐ ﻋﻠﻰ ﻋﺼﺮ ﺩﻭﻥ ﺁﺧﺮ" ‪.‬‬

‫ﺃﻣﺎ ﺍﻟﺴ‪‬ﺎﺭﻳﺲ ﻓﻴﺤﺼﺮﻫﺎ ﻣﻦ ﺧﻼﻝ ﻣﻌﻨﺎﻫﺎ ﺍﻻﺻﻄﻼﺣﻲ ﺇﱃ ﻣﻌﻨﻴﲔ ﻣﻌﲎ ﻋﺎﻡ ﻭﻣﻌﲎ ﺧﺎﺹ‬
‫ﺣﻴﺚ ﻳﻘﻮﻝ ﰲ ﺍﳌﻌﲎ ﺍﻟﻌﺎﻡ‪:‬‬
‫" ﰲ ﺍﻻﺻﻄﻼﺡ ﺍﻟﺸﻌﱯ ﻣﻌﻨﻴﲔ ﺃﻭﳍﻤﺎ ﻋﺎﻡ ﻭﺍﺳﻊ ﻳﺸﻤﻞ ﻛﻞﹼ ﻣﺎ ﻳ‪‬ﺤﻜﻰ ﺷﻔﻮﻳﺎ ﺑﲔ ﺍﻟﻨﺎﺱ ﰲ‬
‫) ‪(4‬‬
‫ﺣﻴﺎ‪‬ﻢ ﺍﻟﻴﻮﻣﻴﺔ ﻭﺃﺣﺪﺍﺛﻬﻢ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﻟﱵ ﻟﻴﺲ ﻓﻴﻬﺎ ﺧﻮﺍﺭﻕ ﺃﻭ ﺃﻋﻤﺎﻝ ﲣﺮﺝ ﻋﻠﻰ ﺍﳌﺄﻟﻮﻑ‪".‬‬

‫)‪(1‬‬
‫ﺭﻭﺯﻟﲔ ﻟﻴﻠﻲ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ ‪.‬ﻁ(‪1980 ،‬ﻡ‪،‬ﺹ‪.91‬‬
‫)‪(2‬‬
‫ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.19‬‬
‫)‪(3‬‬
‫ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ :‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﰊ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻁ‪1968، 1‬ﻡ‪،‬ﺹ‪.11‬‬
‫)‪(4‬‬
‫ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ ﺍﻟﺴﺎﺭﻳﺲ‪ :‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﻟﻔﻠﺴﻄﻴﲏ ‪،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻌﺎﳌﻴﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﻨﺸﺮ‪ ،،‬ﻁ‪1986 ،1‬ﻡ‪ ،‬ﺹ‪.8‬‬
‫‪- 12 -‬‬
‫ﺇﻥﹼ ﺍﻟﺘﻌﺮﻳﻔﲔ ﺍﻷﺧﲑﻳﻦ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻻ ﳜﺘﻠﻔﺎﻥ ﻋﻦ ﺍﻟﺘﻌﺎﺭﻳﻒ ﺍﻟﺴﺎﺑﻘﺔ ﳍﺎ ﺧﺎﺻﺔ ﻓﻴﻤﺎ‬
‫ﻳﺘﻌﻠﻖ ﺑﺸﺴﺎﻋﺔ ﺍﳌﻔﻬﻮﻡ‪ ،‬ﻭﻛﺬﺍ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺸﻔﻮﻳﺔ‪.‬‬
‫" ﻭﻫﻨﺎﻙ ﻣﻦ ﻳﺮﻯ ﺃﻧ‪‬ﻬﺎ ﺑ‪‬ﻨﻴﺖ ﻋﻠﻰ ﺍﻟﻮﺍﻗﻊ ﻃﻮﺭ‪‬ﺍ‪ ،‬ﻭﻋﻠﻰ ﺍﳋﻴﺎﻝ ﺗﺎﺭﺓ ﻭﻋﻠﻰ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻤﺰﻭﺝ ﺑﺎﳋﻴﺎﻝ‬
‫) ‪(1‬‬
‫ﻣﺮ‪‬ﺓ ﺛﺎﻟﺜﺔ"‪.‬‬
‫ﺇﺫﹰﺍ ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﻫﺬﺍ ﺍﻟﻨ‪‬ﻮﻉ ﻣﻦ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﻣﺜﺎﻻﹰ ﻣﺘﻜﺎﻣﻼﹰ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺇﺣﺴﺎﺱ ﻭﻋﻮﺍﻃﻒ‬
‫ﺍﻟﺸﻌﺐ ﰲ ﺷﺘ‪‬ﻰ ﳎﺎﻻﺕ ﺍﳊﻴﺎﺓ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﻭ ﺍﻟﻔﻜﺮﻳﺔ ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻌﻨﺎﻫﺎ ﺍﳋﺎﺹ ﲤﺜﻞ " ﺃﺛﺮ‪‬ﺍ ﻗﺼﺼﻴﺎ ﻳﻨﺘﻘﻞ ﻣﺸﺎﻓﻬﺔ ﺃﺳﺎﺳ‪‬ﺎ ﻳﻜﻮﻥ‬
‫ﻧﺜﺮﻳﺎ‪ ،‬ﻳﺮﻭﻱ ﺃﺣﺪﺍﺛﺎ ﺧﻴﺎﻟﻴﺔ ﻻ ﻳﻌﺘﻘﺪ ﺭﺍﻭﻳﻬﺎ ﻭﻣﺘﻠﻘﻴﻬﺎ ﰲ ﺣﺪﻭﺛﻬﺎ ﺍﻟﻔﻌﻠﻲ‪ ،‬ﺗﻨﺴﺐ ﻋﺎﺩﺓ ﻟﺒﺸﺮ‬
‫) ‪(2‬‬
‫ﻭﺣﻴﻮﺍﻧﺎﺕ ﻭﻛﺎﺋﻨﺎﺕ ﺧﺎﺭﻗﺔ‪ ،‬ﺪﻑ ﺇﱃ ﺍﻟﺘﺴﻠﻴﺔ ﻭﺗﺰﺟﻴﺔ ﺍﻟﻮﻗﺖ ﻭﺍﻟﻌﱪﺓ"‪.‬‬
‫ﻓﺘﻌﺮﻳﻒ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﺬﺍ ﺟﻌﻠﻬﺎ ﺧﺎﺻﺔ ﻭﺃﻛﺴﺒﻬﺎ ﻣﻌﲎ ﻣﺘﻤ‪‬ﻴﺰ‪‬ﺍ ﻋﻦ ﻛﻞ ﻣﻦ ﺍﳊﻜﺎﻳﺔ‬
‫ﺍﳋﺮﺍﻓﻴﺔ ﻭﻋﻦ ﻗﺼﺺ ﺍﻟﺒﻄﻮﻻﺕ ﺧﺎﺻﺔ ﻭﺃﻥ ﻣﺎﺩ‪‬ﺎ ﻣﺴﺘﻤﺪﺓ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻨﻔﺴﻲ ﻭﻛﺬﺍ ﺍﻻﺟﺘﻤﺎﻋﻲ‬
‫ﺍﻟﺬﻱ ﻳﻌﻴﺸﻪ ﺃﻓﺮﺍﺩ ﺍﳉﻤﺎﻋﺔ ﺍﻟﱵ ﺗﻨﺘﺠﻬﺎ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ‪ ،‬ﻓﺈﻥﹼ ﻫﺬﺍ ﺍﻟﻜﻢ ﺍﳍﺎﺋﻞ ﻣﻦ ﺍﻟﺘﻌﺮﻳﻔﺎﺕ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻗﺪ ﺭﺳ‪‬ﺦ ﰲ‬
‫ﺃﺫﻫﺎﻧﻨﺎ ﺃﻣﺮﻳﻦ ﻫﺎﻣ‪‬ﲔ ﺟﺪ‪‬ﺍ‪:‬‬
‫ﺍﻷﻭ‪‬ﻝ ﻣﺘﻌﻠﹼﻖ ﺑﺄﳘﻴﺔ ﻫﺬﺍ ﺍﻟﻠﻮﻥ ﺍﻷﺩﰊ ﺍﳌﻮﺳﻮﻡ ﺑﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﻣﺪﻯ ﺍﺭﺗﺒﺎﻃﻪ ﲝﻴﺎﺓ ﺍﻷﻓﺮﺍﺩ‬
‫ﺍﻟﻴﻮﻣﻴﺔ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺟﻌﻞ ﺍﻟﻜﹸﺘ‪‬ﺎﺏ ﻭﺍﻟﺒﺎﺣﺜﲔ ﻳﻘﺒﻠﻮﻥ ﻋﻠﻴﻬﺎ ﺑﺎﻟﺪﺭﺍﺳﺔ ﻭﺍﻟﺘﺄﻟﻴﻒ ﻭﺍﳉﻤﻊ‪.‬‬
‫ﺃﻣﺎ ﺍﻷﻣﺮ ﺍﻟﺜﺎﱐ ﻓﻤﺘﻌﻠﹼﻖ ﺑﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺣ ‪‬ﺪ ﺫﺍ‪‬ﺎ‪ .‬ﻭﻛﻴﻒ ﺃﻧ‪‬ﻬﺎ ﺃﺻﺒﺤﺖ ﻟﻮﻧﺎ ﺇﻥ ﱂ ﻧﻘﻞ‬
‫ﻓﻨ‪‬ﺎ ﺃﺩﺑﻴﺎ ﺷﻌﺒﻴﺎ ﻗﺎﺋﻤﺎ ﲝﺪ‪ ‬ﺫﺍﺗﻪ‪ ،‬ﻟﻪ ﺧﺼﻮﺻﻴﺎﺗﻪ ﻣﻦ ﺍﻟﻨﺜﺮﻳﺔ ﻭﺍﻟﺴﺮﺩﻳﺔ ﻭ ﺍﻟﺸﻔﺎﻫﻴﺔ ﺍﳌﻘﺪ‪‬ﻣﺔ ﺑﻠﻐﺔ‬
‫ﻳﺘﺨﺎﻃﺐ ‪‬ﺎ ﺍﻟﺸﻌﺐ ﻫﻲ ﺍﻟﻌﺎﻣﻴﺔ ﺍﻟﱵ ﻳ‪‬ﻌﺒ‪‬ﺮ ﻣﻦ ﺧﻼﳍﺎ ﻋﻦ ﺃﺣﻼﻣﻪ ﻭﺁﻣﺎﻟﻪ ﺑﻞ ﻭﺃﻫﺪﺍﻓﻪ ﰲ ﻫﺬﻩ‬
‫ﺍﳊﻴﺎﺓ‪.‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺍﻟﻘﺼﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﻟﻘﺪﱘ‪،‬ﺩﺍﺭ ﻣﻜﺘﺒﺔ ﺍﻟﺸﺮﻛﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻟﻠﺘﺄﻟﻴﻒ ﻭﺍﻟﺘﺮﲨﺔ ﻭﺍﻟﻄﺒﺎﻋﺔ ﻭﺍﻟﺘﻮﺯﻳﻊ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪.‬ﻁ(‬
‫‪1968‬ﻡ ﺹ‪.20-19‬‬
‫)‪ (2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺩﺍﺭ ﺍﻟﻘﺼﺒﺔ ﻟﻠﻨﺸﺮ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪.‬ﻁ( ‪2007،‬ﻡ‪ ،‬ﺹ‪.185‬‬
‫‪- 13 -‬‬
 ‫ﺛﺎﻧﻴﺎ ‪ -‬ﻧﺸﺄة اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﺣﺪﺓ ﻣﻦ ﺃﻫﻢ ﻭﺃﺑﺮﺯ ﻓﻨﻮﻥ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﻞ ﻫﻲ" ﻓﻦ ﻗﺪﱘ ﻳﺮﺗﻜﺰ ﻋﻠﻰ‬
‫ﺍﻟﺴﺮﺩ‪ ،‬ﺃﻱ ﺳﺮﺩ ﺧﱪ ﻣﺘﺼﻞ ﲝﺪﺙ ﻗﺪﱘ ﺍﻧﺘﻘﻞ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺮﻭﺍﻳﺔ ﺍﳌﺘﺪﺍﻭﻟﺔ ﺷﻔﻮﻳﺎ ﻋﱪ ﺍﻷﺟﻴﺎﻝ‪ ،‬ﳑﺎ‬
‫ﳚﻌﻠﻬﺎ ﲣﻀﻊ ﻟﻠﺘﻄﻮﺭ ﻋﱪ ﺍﻟﻌﺼﻮﺭ ﻧﺘﻴﺠﺔ ﻟﻠﺨﻠﻖ ﺍﳊﺮ ﻟﻠﺨﻴﺎﻝ ﺍﻟﺸﻌﱯ ﺍﻟﺬﻱ ﻳﻨﺘﺠﻬﺎ ﺣﻮﻝ ﺣﺪﺙ ﺃﻭ‬
‫) ‪(1‬‬
‫ﺣﻮﺍﺩﺙ ﻣﻬﻤ‪‬ﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺸﻌﺐ"‪.‬‬
‫ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺇﺫﻥ ﺇﺑﺪﺍﻉ ﺃﻭﺟﺪﻩ ﺍﻹﻧﺴﺎﻥ ﺑﻞ ﺧﻠﻘﻪ ﲞﻴﺎﻟﻪ ﺍﻟﻮﺍﺳﻊ‪ ،‬ﻭﺻﻮﺭ ﻓﻴﻪ ﺁﻻﻣﻪ ﻭﺁﻣﺎﻟﻪ‬
‫ﻭﻭﻗﺎﺋﻌﻪ ﺍﻟﺘﺎﺭﳜﻴﺔ‪ ،‬ﻭﺣﺎﻓﻆ ﻋﻠﻴﻪ ﺑﺎﻟﺮﻭﺍﻳﺔ ﺍﻟﺸﻔﻮﻳﺔ‪.‬‬
‫ﻭﻟﻘﺪ ﻛﺎﻥ ﺍﻫﺘﻤﺎﻡ ﺍﻟﺒﺎﺣﺜﲔ ﺑﺪﺭﺍﺳﺔ ﻫﺬﺍ ﺍﻟﻔﻦ ﻭﳏﺎﻭﻟﺔ ﺍﻹﳌﺎﻡ ﺑﻪ ﻗﻠﻴﻠﺔ‪ ،‬ﺣﻴﺚ ﻳﻌﺮﺽ‬
‫ﺑﺮﻭﺏ)‪ (propp‬ﰲ ﺇﻃﺎﺭ ﻧﺸﺄﺓ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺃﻥ ﺩﺭﺍﺳﺘﻬﺎ ﻛﺎﻧﺖ ﺗﺘﺴﻢ ﺑﺎﻟﻄﺎﺑﻊ ﺍﻟﻔﻠﺴﻔﻲ ﻗﺒﻞ‬
‫ﺃﻥ ﺗﺘﻄﻮﺭ ﺇﱃ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﻌﻠﻤﻴﺔ ﺍﻟﱵ ﺗﻜﺘﺴﺒﻬﺎ ﺍﻵﻥ ﺑﻘﻮﻟﻪ‪:‬‬
‫" ﰲ ﺍﻟﻌﻘﺪ ﺍﻷﺧﲑ ﻣﻦ ﻫﺬﺍ ﺍﻟﻘﺮﻥ ﱂ ﺗﻜﻦ ﻗﺎﺋﻤﺔ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﻠﻤﻴﺔ ﺍﳌﺨﺼﺼﺔ ﻟﻠﻘﺼﺔ ﺛﺮﻳﺔ ﺣﻴﺚ ﱂ‬
‫ﺗﻨﺘﺸﺮ ﺇﻻ ﺃﺷﻴﺎﺀ ﻗﻠﻴﻠﺔ ﺣﻮﳍﺎ‪...‬ﻭﻛﺎﻧﺖ ﺗﺘﺴﻢ ﺑﻄﺎﺑﻊ ﺍﳍﻮﺍﻳﺔ ﺍﻟﻔﻠﺴﻔﻴﺔ ﰲ ﻛﺜﲑ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﻭﻛﺎﻧﺖ‬
‫ﳎﺮ‪‬ﺩﺓ ﻣﻦ ﺍﻟﺪﻗﺔ ﺍﻟﻌﻠﻤﻴﺔ ﺗﺬﻛﺮﻧﺎ ﺑﺎﻷﻋﻤﺎﻝ ﺍﻟﱵ ﻗﺎﻡ ‪‬ﺎ ﻓﻼﺳﻔﺔ ﺍﻟﻄﺒﻴﻌﺔ ﰲ ﺍﻟﻘﺮﻥ ﺍﳌﺎﺿﻲ‪ ،‬ﰲ ﺣﲔ‬
‫) ‪(2‬‬
‫ﳒﺪ ﺃﻧﻨﺎ ﰲ ﺣﺎﺟﺔ ﺇﱃ ﻣﻼﺣﻈﺎﺕ ﻭﲢﻠﻴﻼﺕ ﻟﻠﻮﺻﻮﻝ ﺇﱃ ﻧﺘﺎﺋﺞ ﺩﻗﻴﻘﺔ"‪.‬‬
‫ﻧﺴﺘﻨﺘﺞ ﳑﺎ ﺳﺒﻖ ﺃﻥ ﺍﻟﺪﺭﺍﺳﺎﺕ ﰲ ﳎﺎﻝ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻛﺎﻧﺖ ﻧﺎﺩﺭﺓ ﻭﻣﺎ ﺃﹸﳒﺰ ﻣﻨﻬﺎ ﻛﺎﻥ‬
‫ﻳﺘﺼﻒ ﺑﺎﻟﻌﻤﻮﻣﻴﺔ ﻭﺍﻟﺴﻄﺤﻴﺔ ﻭﲨﻊ ﺍﳌﺎﺩﺓ ﻓﻘﻂ‪ ،‬ﻟﺬﻟﻚ" ﺗﻌﺘﱪ ﺃﻋﻤﺎﻝ ﺍﻹﺧﻮﺓ ﺍﻷﳌﺎﻥ )ﺟﺮﱘ( ﺑﺄ‪‬ﺎ‬
‫ﻭﺍﺿﻌﺔ ﺍﻷﺳﺎﺱ ﻟﺪﺭﺍﺳﺔ ﺍﳋﺮﺍﻓﺎﺕ ﻭﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻭﻗﺪ ﺟﻌﻞ ﻫﺬﺍﻥ ﺍﻷﺧﻮﺍﻥ ﻣﻦ ﺍﳊﻜﺎﻳﺔ‬
‫) ‪(3‬‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﺍﻷﳌﺎﻧﻴﺔ ﺯﺍﺩ‪‬ﺍ ﻻ ﻟﻠﺸﻌﺐ ﺍﻷﳌﺎﱐ ﻓﺤﺴﺐ ﺑﻞ ﻟﻠﻌﺎﱂ ﻛﻠﻪ"‪.‬‬

‫)‪ (1‬ﺭﺍﺑﺢ ﺍﻟﻌﻮﰊ‪ :‬ﺃﻧﻮﺍﻉ ﺍﻟﻨﺜﺮ ﺍﻟﺸﻌﱯ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺟﺎﻣﻌﻴﺔ‪،‬ﺑﺎﺟﻲ ﳐﺘﺎﺭ‪ ،‬ﻋﻨﺎﺑﺔ‪) ،‬ﺩ‪.‬ﻁ(‪) ،‬ﺩ‪.‬ﺕ( ‪ ،‬ﺹ‪.35‬‬
‫)‪ (2‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ ﻭﺍﺩﻱ ﺳﻮﻑ ﳕﻮﺫﺟﺎ‪ ،‬ﺩﺍﺭ ﻫﻮﻣﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ‪.‬ﻁ(‪) ،‬ﺩ‪.‬ﺕ(‬
‫ﺹ‪.13‬‬
‫)‪ (3‬ﳕﺮ ﺳﺮﺣﺎﻥ‪ :‬ﺃﻏﺎﻧﻴﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﻟﻀﻔﺔ ﺍﻟﻐﺮﺑﻴﺔ ﻣﻦ ﺍﻷﺭﺩﻥ‪،‬ﲨﻌﻴﺔ ﺍﳌﻄﺎﺑﻊ ﺍﻟﺘﻌﺎﻭﻧﻴﺔ‪ ،‬ﺍﻷﺭﺩﻥ‪) ،‬ﺩ‪.‬ﻁ(‪) ،‬ﺩ‪.‬ﺕ( ‪،‬ﺹ‪.08‬‬
‫‪- 14 -‬‬
‫ﻭﻗﺪ ﺳﺎﳘﺖ ﺃﻋﻤﺎﻝ ﺍﻹﺧﻮﺓ ﺟﺮﱘ ﰲ ﺩﻓﻊ ﺍﻟﺒﺎﺣﺜﲔ ﺍﻟﻌﺮﺏ ﺇﱃ ﺍﻻﻫﺘﻤﺎﻡ ﺑﺪﺭﺍﺳﺔ ﻓﻨﻮﻥ‬
‫ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ ﺍﻟﻌﺮﰊ ﻭﺧﺎﺻﺔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﻣﻦ ﻣﻈﺎﻫﺮ ﻫﺬﺍ ﺍﻻﻫﺘﻤﺎﻡ ﺗﺄﻟﻴﻒ ﻓﺎﻳﺰ ﺍﻟﻐﻮﻝ‬
‫ﺳﻠﺴﻠﺔ ﻛﺘﺎﺏ "ﺍﻟﺪﻧﻴﺎ ﺣﻜﺎﻳﺎﺕ" ﻭﺫﻟﻚ ﻗﺒﻞ ﺳﻨﺔ ‪1948‬ﻡ ‪.‬‬
‫ﻓﻤﻦ ﺧﻼﻝ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﱵ ﺃﺟﺮﻳﺖ ﺣﻮﻝ ﻧﺸﺄﺓ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﻃﺮﻑ ﺑﺎﺣﺜﲔ ﻣﺘﻤﺮﺳﲔ‬
‫ﻭﺟﺪﻧﺎ ﺃﻧﻪ "ﻻ ﳝﻜﻦ ﲢﺪﻳﺪ ﻋﻤﺮ ﻧﺼﻮﺹ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺗﺎﺭﳜﻴﺎ‪ ،‬ﻭﺫﻟﻚ ﻟﻌﺪﻡ ﺗﺪﻭﻳﻦ ﺗﻠﻚ‬
‫ﺍﻟﻨﺼﻮﺹ‪ ،‬ﻭﺟﻬﻠﻨﺎ ﺑﺎﻟﻨﺺ ﺍﻷﺻﻠﻲ ﺍﻟﺬﻱ ﳝﻜﻨﻨﺎ ﺍﺳﺘﻘﺮﺍﺀﻩ‪ ،‬ﻭﻛﻞﹼ ﻣﺎ ﻧﺴﺘﻄﻴﻊ ﺍﻟﻘﻴﺎﻡ ﺑﻪ ﻫﻮ ﳏﺎﻭﻟﺔ‬
‫) ‪(1‬‬
‫ﺍﺳﺘﻘﺮﺍﺀ ﺍﻟﻨﺼﻮﺹ ﺍﳊﺪﻳﺜﺔ"‪.‬‬
‫ﻟﻘﺪ ﺍﺭﺗﺒﻂ ﻣﻨﺸﺄ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺎﻹﻧﺴﺎﻥ ﻭﻭﺟﻮﺩﻩ‪ ،‬ﻭﺭﺍﺣﺖ ﺗﺘﻄﻮﺭ ﻭﺗﺘﻔﺎﻋﻞ ﻣﻌﻪ ﻣﻮﺍﻛﺒﺔ‬
‫ﻃﺎﺑﻊ ﺍﻟﺒﻴﺌﺔ ﺍﶈﻴﻄﺔ ﺑﻪ ﻣﻨﺬ ﻇﻬﻮﺭ ﺍﻹﻧﺴﺎﻥ ﺣﱴ ﺍﻟﻴﻮﻡ‪ ،‬ﻭﻗﺪ ﻛﺎﻧﺖ ﺍﻟﻘﺼﺔ ﻭﻻ ﺗﺰﺍﻝ ﺫﺍﺕ ﺍﻟﺸﺄﻥ‬
‫ﺍﻷﲰﻰ ﰲ ﺁﺩﺍﺏ ﺍﻷﻣﻢ ﻗﺪﳝﺎ ﻭﺣﺪﻳﺜﺎ‪.‬‬
‫ﺇﻥﹼ ﺍﻟﺒﺎﺣﺚ ﰲ ﻧﺸﺄﺓ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺮﺑﻴﺔ ﰲ ﺍﳌﻐﺮﺏ ﳚﺪ ﺻﻌﻮﺑﺎﺕ ﰲ ﲢﺪﻳﺪ ﺯﻣﻦ ﺩﺧﻮﳍﺎ ﳍﺬﻩ‬
‫ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻭﺫﻟﻚ ﻟﻘﻠﺔ ﺍﻟﻮﺛﺎﺋﻖ ﻭﻳﺮﺟﻊ ﺍﻟﺴﺒﺐ ﰲ ﺫﻟﻚ ﺇﱃ ﻃﺒﻴﻌﺔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻧﻔﺴﻬﺎ‪ "،‬ﻓﻬﻲ‬
‫ﺗﻌﺒﲑ ﺷﻔﻬﻲ ﻋﻦ ﻣﻜﻨﻮﻥ ﺍﻹﻧﺴﺎﻥ ﻭﺁﻣﺎﻟﻪ ﻣﻨﺬ ﻓﺠﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻓﺎﻟﻘﺼ‪‬ﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲣﺘﻠﻒ ﻋﻦ ﺍﻟﻘﺼ‪‬ﺔ‬
‫ﺍﻷﺩﺑﻴﺔ ﺍﻟﱵ ﳝﻜﻦ ﺍﻟﺮﺟﻮﻉ ﺇﱃ ﻣﺆﻟﻔﻬﺎ‪ ،‬ﻋﻠﻰ ﺧﻼﻑ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍ‪‬ﻬﻮﻟﺔ ﺍﳌﺆﻟﻒ‪ ،‬ﻷ‪‬ﺎ ﻣﻠﻚ‬
‫) ‪(2‬‬
‫ﻣﺸﺎﻉ ﳉﻤﻬﻮﺭ ﻋﺮﻳﺾ ﻣﻦ ﺍﻟﻨﺎﺱ ﻭﺍﻟﺬﻳﻦ ﲡﻤﻌﻬﻢ ﻟﻐﺔ ﻭﺍﺣﺪﺓ"‪.‬‬
‫ﻓﻬﺬﺍ ﺍﻟﺘﻔﺴﲑ ﻳﻌﻜﺲ ﻗﺪﻡ ﻧﺸﺄﺓ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻷ‪‬ﺎ ﻣﻨﺬ ﻓﺠﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﺑﻞ ﺇﻥﹼ ﻇﻬﻮﺭﻫﺎ‬
‫ﻣﺮﺗﺒﻂ ﺑﻈﻬﻮﺭ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ ﺧﺎﺻﺔ ﻭﺃ‪‬ﺎ ﺗﻌﻠﻘﺖ ﲞﻴﺎﻟﻪ ﺍﻟﻔﺴﻴﺢ ﺍﻟﺬﻱ ﺳﺎﻫﻢ ﰲ ﻧﺴﺞ‬
‫ﺃﺣﺪﺍﺛﻬﺎ ﻭﺗﻔﺎﺻﻴﻠﻬﺎ‪.‬‬

‫)‪(1‬‬
‫ﳕﺮ ﺳﺮﺣﺎﻥ‪ :‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻔﻠﺴﻄﻴﻨﻴﺔ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺑﲑﻭﺕ‪)،‬ﺩ‪.‬ﻁ(‪) ،‬ﺩ‪.‬ﺕ( ‪ ،‬ﺹ‪.36‬‬
‫)‪(2‬‬
‫ﺭﻭﺯﻟﲔ ﻟﻴﻠﻲ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ‪،‬ﺹ‪.35‬‬
‫‪- 15 -‬‬
‫ﻟﻘﺪ ﻏﻴ‪‬ﺮ ﺍﻹﺳﻼﻡ ﻭﺣﻮ‪‬ﻝ ﺍﳌﻐﺮﺏ ﺍﻟﻌﺮﰊ‪ ،‬ﺣﻴﺚ ﺃﺻﺒﺢ ﻻ ﻓﺮﻕ ﺑﲔ ﻃﺒﻘﺔ ﻭﺃﺧﺮﻯ‪ ،‬ﺑﻌﺪ ﺃﻥ‬
‫ﻛﺎﻥ ﺍ‪‬ﺘﻤﻊ ﻗﺒﻞ ﺍﻟﻔﺘﺢ ﺍﻟﻌﺮﰊ ﺍﻹﺳﻼﻣﻲ ﻳﻨﻘﺴﻢ ﺇﱃ ﻓﺌﺎﺕ ﻭﻃﻮﺍﺋﻒ ﻋﺪﻳﺪﺓ‪" ،‬ﻭﻗﺪ ﻣﺮ‪ ‬ﻫﺬﺍ ﺍﻟﺘﺤﻮ‪‬ﻝ‬
‫ﺑﺴﻠﺴﻠﺔ ﻃﻮﻳﻠﺔ ﻣﻦ ﺍﳊﻮﺍﺩﺙ‪ ،‬ﻭﺍﻟﻈﻮﺍﻫﺮ ﺍﳌﺘﻄﻮﺭﺓ ﺍﻟﱵ ﺃﺛﹼﺮﺕ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﻧﺘﺸﺎﺭﻫﺎ‪ ،‬ﻭﻟﻌﻞ‬
‫) ‪(1‬‬
‫ﻣﻦ ﺃﻫﻢ ﻫﺬﻩ ﺍﻟﻈﻮﺍﻫﺮ ﻋﻤﻠﻴﺔ ﺍﻟﻔﺘﺢ ﻧﻔﺴﻬﺎ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﳍﺠﺮﺍﺕ ﻣﻦ ﺍﳌﺸﺮﻕ ﺇﱃ ﺍﳌﻐﺮﺏ"‪.‬‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺃﻥﹼ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ ﻛﺎﻧﺖ ﺃﻣﻴ‪‬ﺔ ﰲ ﺃﻭﺍﺋﻞ ﺍﻟﻔﺘﺢ ﻭﻫﻲ ﻇﺎﻫﺮﺓ ﺳﺎﻋﺪﺕ ﻋﻠﻰ‬
‫ﺍﻧﺘﺸﺎﺭ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﺟﻌﻠﻬﺎ ﺗﻔﻀﻞ ﺍﳉﺎﻧﺐ ﺍﻟﺸﻔﻬﻲ ﻋﻠﻰ ﺍﻟﻜﺘﺎﰊ ﳑﺎ ﻛﺎﻥ ﻟﻪ‬
‫ﺍﻷﺛﺮ ﺍﻟﻜﺒﲑ ﰲ ﺍﻧﺘﺸﺎﺭ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻐﺮﺏ‪ ،‬ﻭﺍﻧﺘﻘﺎﳍﺎ ﻋﱪ ﺍﻷﺟﻴﺎﻝ‪.‬‬
‫ﺇﻥﹼ ﲝﺜﻨﺎ ﰲ ﻧﺸﺄﺓ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﳏﺎﻭﻟﺘﻨﺎ ﻣﻌﺮﻓﺔ ﺍﻹﺭﻫﺎﺻﺎﺕ ﺍﻷﻭﱃ ﳍﺎ‪ ،‬ﺳﺎﺭ ﺑﻨﺎ ﺇﱃ ﻧﺘﻴﺠﺔ‬
‫ﻭﺍﺣﺪﺓ ﻣﻀﻤﻮ‪‬ﺎ ﺃﻥ ﺍﻟﻘﺼﺔ ﻫﻲ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﺍﻹﻧﺴﺎﻥ ﻫﻮ ﺍﻟﻘﺼﺔ ﻷﻥﹼ "ﻧﺸﺄ‪‬ﺎ ﰲ ﺍﻟﻌﺎﱂ ﺗﻄﺎﺑﻖ ﻭﺟﻮﺩ‬
‫) ‪(2‬‬
‫ﺍﻹﻧﺴﺎﻥ ﻓﻴﻪ"‪.‬‬

‫)‪ (1‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ ‪،‬ﺹ‪.36‬‬

‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.07‬‬
‫‪- 16 -‬‬
 ‫ﺛﺎﻟﺜﺎ ‪-‬ﻋﻨﺎﺻﺮ اﻟﺤﻜﺎﻳﺔ اﻟﺸّﻌﺒﻴﺔ ‪:‬‬
‫ﻻ ﳜﺘﻠﻒ ﺍﺛﻨﺎﻥ ﰲ ﺃﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﺎ ﻫﻲ ﺇﻻﹼ ﻧﺺ‪ ،‬ﻳﻐﻠﺐ ﻋﻠﻰ ﲰﺘﻪ ﻃﺎﺑﻊ ﺍﻟﺴﺮﺩﻳﺔ‪،‬‬
‫ﻳﺘﺄﻟﻒ ﻣﻦ ﳎﻤﻮﻋﺔ ﻋﻨﺎﺻﺮ ﺗﺘﺤﺪ‪ ‬ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻟﺘﺄﻟﻒ ﺑﻨﻴﺔ ﻓﻨﻴﺔ ﻫﻲ ﺍﻟﻘﺼ‪‬ﺔ‪.‬‬
‫ﻳﻌﺮ‪‬ﻓﻬﺎ ﺟﻮﺯﻳﻒ ﺑﻴﺪﻳﻲ)*( ﺑﻘﻮﻟﻪ‪ " :‬ﺍﻟﻘﺼﺔ ﻣﺎ ﻫﻲ ﺇﻻﹼ ﻛﻴﺎﻧﺎ ﻋﻀﻮﻳﺎ ﺣﻴ‪‬ﺎ‪ ،‬ﻳﺘﻢ‪ ‬ﻫﺪﻣﻪ ﲟﺠﺮ‪‬ﺩ‬
‫) ‪(1‬‬
‫ﺇﺳﻘﺎﻁ ﺃﺣﺪ ﻣﻜﻮﻧﺎﺗﻪ ﺍﻷﺳﺎﺳﻴﺔ"‪.‬‬
‫ﻓﻘﺼﺼﻴﺔ ﺍﻟﻨﺺ ﺇﺫﻥ ﻻ ﺗﺘﺤﻘﻖ ﺇﻻﹼ ﺇﺫﺍ ﺗﻮﻓﹼﺮ ﻋﻠﻰ ﲨﻠﺔ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻔﻨﻴﺔ ﻭﺍﻟﱵ ﻳﺄﰐ ﰲ‬
‫ﻣﻘﺪﻣﺘﻬﺎ)‪:(2‬‬
‫‪ -‬ﺍﻟﻮﻇﻴﻔﺔ‪ :‬ﺃﻭ ﺍﻟﻔﻌﻞ‪ ،‬ﻭﻫﻲ ﳎﻤﻮﻉ ﺍﻷﺣﺪﺍﺙ ﺍﳌﺘﺮﺍﺗﺒﺔ ﻭﻓﻖ ﺗﺴﻠﺴﻞ ﺯﻣﲏ ﺃﻭ ﺳﺒﱯ‪.‬‬
‫‪ -‬ﺍﻟﻌﺎﻣﻞ‪ :‬ﺃﻭ ﺍﻟﻔﺎﻋﻞ ﻭﻫﻮ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﱵ ﺗﻀﻄﻠﻊ ﺑﺪﻭﺭ ﻣﺎ ﰲ ﺍﻟﻔﻌﻞ‪.‬‬
‫‪ -‬ﺯﻣﺎﻥ ﺍﻟﻔﻌﻞ ﻭﺣﻴ‪‬ﺰﻩ )ﻣﻜﺎﻧﻪ(‪.‬‬
‫ﻟﻘﺪ ﻋﺮﻓﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻭ ﺍﻟﻘﺼﺔ ﻋﻤﻮﻣ‪‬ﺎ‪ ،‬ﳏﺎﻭﻻﺕ ﺃﻭﱃ ﻟﺪﺭﺍﺳﺔ ﺑﻨﻴﺘﻬﺎ ﺍﻟﺘﺮﻛﻴﺒﻴﺔ ﺣﻴﺚ‬
‫ﻳﻨﺴﺐ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ ﺭﻳﺎﺩﺓ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻨﻴﻮﻳﺔ ﻟﻠﻘﺼﺺ ﻟﻠﻌﺎﱂ ﺍﻟﻔﺮﻧﺴﻲ ﺟﻮﺯﻳﻒ ﺑﻴﺪﻳﻲ‬
‫‪ ،Joseph Bedier‬ﺍﻟﺬﻱ" ﻓﺮ‪‬ﻕ ﺑﲔ ﺍﻟﺸﻜﻞ ﺍﻟﻌﻀﻮﻱ ﺍﻟﺬﻱ ﳛﺪ‪‬ﺩ ﺍﻟﻘﺼﺔ ﰲ ﺟﻮﻫﺮﻫﺎ‬
‫ﻭﻣﻼﳏﻬﺎ ﺍﻟﻌﺎﺭﺿﺔ ﺍﻟﱵ ﺗﺘﻤﺜﻞ ﰲ ﺍﻷﺧﻼﻕ ﻭﺍﻟﻄﺒﺎﻉ ﻭﺍﻷﻓﻜﺎﺭ ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﱵ ﲣﺘﻠﻒ‬
‫) ‪(3‬‬
‫ﺑﺎﺧﺘﻼﻑ ﻇﺮﻭﻑ ﺍﻟﺒﻴﺌﺔ ﺍﻟﱵ ﲢﺘﻀﻦ ﺍﻟﻘﺼﺔ "‪.‬‬
‫ﻟﻜﻦ ﳏﺎﻭﻻﺕ ﺑﻴﺪﻳﻲ ﺗﻮﻗﻔﺖ ﻋﻨﺪ ﻫﺬﺍ ﺍﳊﺪ‪ ،‬ﻷﻧﻪ ﱂ ﻳﻬﺘﻢ ﺑﺘﺤﺪﻳﺪ ﻋﻨﺎﺻﺮ ﺍﻟﻘﺼﺔ‪ ،‬ﻭﺇﳕﹼﺎ ﺍﲡﻪ ﺇﱃ‬
‫ﻋﻘﺪ ﻣﻘﺎﺭﻧﺎﺕ ﺑﲔ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﻟﻘﺼﺼﻴﺔ ﺍﳌﺨﺘﻠﻔﺔ ﰲ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺸﻜﻠﻴﺔ ﺍﻟﺜﺎﺑﺘﺔ‪.‬‬

‫)*( ﺟﻮﺯﻳﻒ ﺑﻴﺪﻳﻲ ‪ :‬ﺻﺎﺣﺐ ﻛﺘﺎﺏ ﺍﳋﺮﺍﻓﺎﺕ ﺍﻟﺬﻱ ﻧﺸﺮ ﰲ ‪‬ﺎﻳﺔ ﺍﻟﻘﺮﻥ ‪19‬ﻡ ‪ ،‬ﻭﺗﻨﺴﺐ ﺇﻟﻴﻪ ﺭﻳﺎﺩﺓ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻴﻨﻮﻳﺔ ﻟﻠﻘﺼﺺ ‪.‬‬
‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﻣﻨﻄﻖ ﺍﻟﺴﺮﺩ‪ ،‬ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﻟﻘﺼﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺍﳊﺪﻳﺜﺔ‪،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺑﻦ ﻋﻜﻨﻮﻥ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪.‬ﻁ(‪) ،‬ﺩ‪.‬ﺕ(‪،‬‬
‫ﺹ‪.18‬‬
‫)‪ (2‬ﺳﻌﻴﺪ ﻳﻘﻄﲔ‪ :‬ﻗﺎﻝ ﺍﻟﺮﺍﻭﻱ‪ ،‬ﺍﻟﺒﻨﻴﺎﺕ ﺍﳊﻜﺎﺋﻴﺔ ﰲ ﺍﻟﺴﲑﺓ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪،‬ﻁ‪1997 ،1‬ﻡ‪،‬ﺹ‪.20 ،19‬‬
‫)‪ (3‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪.18‬‬
‫‪- 17 -‬‬
‫ﺟﺎﺀ ﻓﻴﻤﺎ ﺑﻌﺪ ﻓﻼﺩﳝﲑ ﺑﺮﻭﺏ ‪ vladimir propp‬ﺍﻟﺬﻱ ﺃﻭﱃ ﺍﻫﺘﻤﺎﻣ‪‬ﺎ ﻛﺒﲑ‪‬ﺍ ﻟﻌﻨﺎﺻﺮ‬
‫ﺍﻟﻘﺼﺔ ﻭﺍﲡﻪ ﺇﱃ ﲢﺪﻳﺪﻫﺎ ﰲ ﲝﺜﻪ ﺍﻟﺬﻱ ﻇﻬﺮ ﰲ ﺷﻜﻞ ﻛﺘﺎﺏ ﺑﺎﻟﻠﻐﺔ ﺍﻟﺮﻭﺳﻴﺔ ﻋﺎﻡ ‪1929‬ﻡ‪ ،‬ﲢﺖ‬
‫ﻋﻨﻮﺍﻥ‪ ":‬ﻣﻮﺭﻓﻮﻟﻮﺟﻴﺔ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﺍﻟﺮﻭﺳﻴﺔ "‪.‬‬
‫ﻭﺍﻟﺬﻱ ﺗﻨﺎﻭﻝ ﻓﻴﻪ ﺑﺮﻭﺏ ﺟﻬﺪ ﺳﻠﻔﻪ ﺑﺎﻟﻨﻘﺪ "ﻛﻤﺎ ﺳﺎﺭ ﺑﺎﻟﺘﺤﻠﻴﻞ ﺍﻟﺸﻜﻠﻲ ﻟﻠﻘﺼﺺ ﺷﻮﻃﹰﺎ ﻛﺒﲑ‪‬ﺍ‬
‫ﻳ‪‬ﻌﺪ‪ ‬ﺍﻟﺒﺪﺍﻳﺔ ﺍﳊﻘﻴﻘﻴﺔ ﳌﺮﺣﻠﺔ ﺟﺪﻳﺪﺓ ﻣﻦ ﺗﺎﺭﻳﺦ ﻋﻠﻢ ﺍﻟﻘﺺ‪ ،‬ﺣﻴﺚ ﻭﺿﻊ ﻫﺬﺍ ﺍﻟﺒﺎﺣﺚ ﺃﺳﺲ ﺍﳌﻨﻬﺞ‬
‫) ‪(1‬‬
‫ﺍﻟﺒﻨﻴﻮﻱ ﻋﻨﺪﻣﺎ ﻛﺸﻒ ﻋﻦ ﻭﺟﻮﺩ ﳕﻮﺫﺝ ﻓﺮﻳﺪ ﻟﻠﺒﻨﻴﺔ ﺍﻟﺘﺮﻛﻴﺒﻴﺔ ﻟﻠﺤﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﺍﻟﺮﻭﺳﻴﺔ"‪.‬‬
‫ﺇﻥﹼ ﺩﺭﺍﺳﺔ ﺑﺮﻭﺏ ﻟﻠﺤﻜﺎﻳﺔ ﺗﻌﺘﱪ ﻧﻘﻄﺔ ﺍﻻﻛﺘﻤﺎﻝ ﰲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻨﻴﻮﻳﺔ ﺍﻟﺘﺮﻛﻴﺒﻴﺔ ﻟﻠﻘﺼﺔ‪،‬‬
‫ﻷﻧﻪ ﺍﺳﺘﻄﺎﻉ ﻭﻣﻦ ﺧﻼﳍﺎ ﺃﻥ ﻳﺴﺪ‪ ‬ﺍﻟﻔﺮﺍﻍ ﺍﻟﺬﻱ ﺗﺮﻛﺘﻪ ﺍﶈﺎﻭﻻﺕ ﺍﻷﻭﱃ ﺑﺪﻟﻴﻞ ﺃﻧ‪‬ﻪ ﻭﺟ‪‬ﻪ ﺍﻟﻨﻘﺪ‬
‫ﻟﺜﻼﺛﺔ ﺑﺎﺣﺜﲔ ﺳﺒﻘﻮﻩ ﺇﱃ ﳏﺎﻭﻟﺔ ﻭﺻﻒ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﻫﻢ "ﻓﺴﻠﻮﻓﺴﻜﻲ" ﻭ"ﺑﻴﺪﻳﻲ"‬
‫ﻭ"ﻓﻮﻟﻜﻮﻑ"‪ ،‬ﺣﻴﺚ ﻳﺮﻯ "ﺑﺮﻭﺏ" ﺃﻥﹼ ﲤﻴﻴﺰ "ﻓﺴﻠﻮﻓﺴﻜﻲ" ﺑﲔ ﺍﳌﻮﺿﻮﻋﺎﺕ ﻭﺍﳊﻮﺍﻓﺰ)ﺍﳌﻮﺗﻴﻔﺎﺕ(‬
‫ﻭﺍﻋﺘﺒﺎﺭﻩ ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﻫﻲ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻷﺳﺎﺳﻴﺔ ﻭﺍﻟﺜﺎﺑﺘﺔ‪ ،‬ﺍﻟﱵ ﺗﺘﺮﻛﺐ ﻣﻨﻬﺎ ﺍﻷﻭﱃ‪ ،‬ﺃﻣﺮ ﱂ ﻳﻌﺪ‬
‫ﻗﺎﺑﻼ ﻟﻠﺘﻄﺒﻴﻖ ﻷﻥ ﺍﳊﺎﻓﺰ ﺑﺪﻭﺭﻩ ﻳﻘﺒﻞ ﺍﻟﺘﺠﺰﺋﺔ‪ ،‬ﻭﻫﻮ ﻟﻴﺲ ﻛﻼ ﻣﻨﻄﻘﻴﺎ ﻛﻤﺎ ﻳﺪ‪‬ﻋﻲ ﻓﺴﻠﻮﻓﺴﻜﻲ‪.‬‬
‫ﻛﻤﺎ ﻳﺮﻯ "ﺑﺮﻭﺏ" ﺃﻥ "ﻓﻮﻟﻜﻮﻑ"‪ ،‬ﻗﺪ ﺍﺭﺗﻜﺐ ﺧﻄﺄ ﻛﺒﲑ‪‬ﺍ ﻋﻨﺪﻣﺎ ﺟﻌﻞ ﻣﻦ ﺍﳌﻮﺿﻮﻉ‬
‫ﻭﺣﺪﺓ ﺛﺎﺑﺘﺔ‪ ،‬ﻭﻧﻘﻄﺔ ﺍﻻﻧﻄﻼﻕ ﰲ ﺩﺭﺍﺳﺔ ﺍﻟﻘﺼﺔ‪ ،‬ﻭﺫﻟﻚ ﻷﻥ ﺍﳌﻮﺿﻮﻉ ﻭﺣﺪﺓ ﻣﺮﻛﺒﺔ‪ ،‬ﻭﻟﻴﺲ‬
‫ﻭﺣﺪﺓ ﺑﺴﻴﻄﺔ ﻭﻫﻮ ﻣﺘﻐﲑ ﻭﻟﻴﺲ ﺛﺎﺑﺘﺎ‪ ،‬ﻭﻻ ﳝﻜﻦ ﺍﲣﺎﺫﻩ ﻛﻨﻘﻄﺔ ﺑﺪﺍﻳﺔ ﰲ ﺩﺭﺍﺳﺔ ﺍﻟﻘﺼﺔ‪.‬‬
‫ﻛﻤﺎ ﺃﻛﹼﺪ ﺑﺮﻭﺏ "ﺍﺳﺘﺤﺎﻟﺔ ﲢﺪﻳﺪ ﺟﻮﻫﺮ ﺍﻟﻘﺼﺔ ﺃﻭ ﺍﻟﻨﻮﺍﺓ ﺍﻟﺜﺎﺑﺘﺔ ﺍﻟﱵ ﻳﺘﺤﺪﺙ ﻋﻨﻬﺎ ﻳﺒﺪﻳﻲ‬
‫) ‪(2‬‬
‫ﻭﻋﺪﻡ ﺇﻣﻜﺎﻥ ﻋﺰﳍﺎ ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﺘﻐﲑﺓ"‪.‬‬
‫ﺇﻥﹼ ﻧﻘﺪ ﺑﺮﻭﺏ ﻟﻠﻤﺤﺎﻭﻻﺕ ﺍﻷﻭﱃ ﺍﻟﱵ ﺳﺒﻘﺘﻪ ﰲ ﺩﺭﺍﺳﺔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﻓﹼﻘﻪ ﺇﱃ ﺭﺳﻢ‬
‫ﻣﻌﺎﱂ ﺍﻟﺘﺤﻠﻴﻞ ﺍﳌﻮﺭﻓﻮﻟﻮﺟﻲ ﺍﻟﺬﻱ ﻳ‪‬ﻌﺮ‪‬ﻓﻪ ﺑﺄﻧ‪‬ﻪ" ﻭﺻﻒ ﻟﻠﺤﻜﺎﻳﺎﺕ ﻭﻓﻘﺎ ﻷﺟﺰﺍﺀ ﳏﺘﻮﺍﻫﺎ‪ ،‬ﻭﻋﻼﻗﺔ‬
‫) ‪(3‬‬
‫ﻫﺬﻩ ﺍﻷﺟﺰﺍﺀ ﺑﻌﻀﻬﺎ ﺑﺒﻌﺾ‪ ،‬ﰒﹼ ﻋﻼﻗﺘﻬﺎ ﺑﺎ‪‬ﻤﻮﻉ "‪.‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﻣﻨﻄﻖ ﺍﻟﺴﺮﺩ‪:‬ﺹ‪.19‬‬

‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ ‪ :‬ﺹ‪.19‬‬
‫)‪ (3‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪،‬ﺩﺍﺭ ﺍﻟﻌﻮﺩﺓ‪ ،‬ﺑﲑﻭﺕ‪) ،‬ﺩ‪.‬ﻁ(‪1974 ،‬ﻡ‪،‬ﺹ ‪.25‬‬
‫‪- 18 -‬‬
‫ﻛﻤﺎ ﻣﻴ‪‬ﺰ ﺑﺮﻭﺏ ﺑﲔ ﻧﻮﻋﲔ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﻜﻮ‪‬ﻧﺔ ﻟﻠﺤﻜﺎﻳﺎﺕ ﻋﻨﺎﺻﺮ ﺛﺎﺑﺘﺔ ﻭﺃﺧﺮﻯ ﻣﺘﻐﻴ‪‬ﺮﺓ‪،‬‬
‫ﺗﺘﺼﻞ ﺍﻷﻭﱃ ﺑﺸﻜﻞ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺜﺎﺑﺖ‪ ،‬ﻭﺗﺘﺼﻞ ﺍﻟﺜﺎﻧﻴﺔ ﺑﺎﶈﺘﻮﻯ ﺍﳌﺘﻐﻴ‪‬ﺮ ﳍﺬﺍ ﺍﻟﺸﻜﻞ‪ ،‬ﻛﻤﺎ ﺍﻛﺘﺸﻒ‬
‫ﺑـﺮﻭﺏ ﻭﺣﺪﺓ ﺃﺳﺎﺳﻴﺔ ﺟـﺪﻳﺪﺓ ﰲ ﺍﳊﻜﺎﻳﺎﺕ‪ ،‬ﻭﻫﻲ ﻣﺎ ﲰﺎﻫﺎ ﺑﺎﻟﻮﺣﺪﺓ ﺍﻟﻮﻇﻴﻔﻴﺔ‬
‫‪ functional unit‬ﻭﺍﻟﱵ ﲤﺜﻞ "ﻓﻌﻼ ﻣﻦ ﺃﻓﻌﺎﻝ ﺷﺨﻮﺹ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﺑﺼﺮﻑ ﺍﻟﻨﻈﺮ ﻋﻦ ﺍﺧﺘﻼﻑ‬
‫ﺷﻜﻞ ﻫﺬﻩ ﺍﻟﺸﺨﻮﺹ ﻣﻦ ﺣﻜﺎﻳﺔ ﻷﺧﺮﻯ‪ ،‬ﻭﻫﺬﻩ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﻮﻇﻴﻔﻴﺔ ﻟﺸﺨﻮﺹ ﺍﳊﻜﺎﻳﺎﺕ ﺗﻌﺪ‪‬‬
‫ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﺑﺮﻭﺏ‪ ،‬ﺍﶈﺘﻮﻯ ﺍﻷﺳﺎﺳﻲ ﻟﻠﺤﻜﺎﻳﺎﺕ‪ ...‬ﻷ‪‬ﺎ ﺗ‪‬ﻌﺪ‪ ‬ﻋﻨﺎﺻﺮ ﺛﺎﺑﺘﺔ ﰲ ﺍﳊﻜﺎﻳﺎﺕ‬
‫) ‪(1‬‬
‫ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺑﺼﺮﻑ ﺍﻟﻨﻈﺮ ﻋﻦ ﺍﺧﺘﻼﻑ ﻃﺒﻴﻌﺔ ﺍﻟﺸﺨﻮﺹ ﻭﺍﻟﻮﺳﻴﻠﺔ ﺍﻟﱵ ﺗﻨﻔﹼﺬ ‪‬ﺎ "‪.‬‬
‫ﻓﺎﻟﻮﺣﺪﺍﺕ ﺍﻟﻮﻇﻴﻔﻴﺔ ﺗﻈﻞ ﺛﺎﺑﺘﺔ ﺭﻏﻢ ﺗﻐﻴ‪‬ﺮ ﺷﺨﻮﺹ ﺍﳊﻜﺎﻳﺎﺕ‪ ،‬ﻭﺭﻏﻢ ﺗﻐﻴ‪‬ﺮ ﺍﻟﻮﺳﻴﻠﺔ ﺍﻟﱵ ﺗﻨﻔﺬ‬
‫‪‬ﺎ ﺍﻷﻓﻌﺎﻝ‪.‬‬
‫ﻋﻤﻮﻣﺎ "ﻓﻌﺪﺩ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﻮﻇﻴﻔﻴﺔ ﺍﻟﱵ ﺗﺘﺤﻜﻢ ﰲ ﲨﻴﻊ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺮﻭﺳﻴﺔ ﺗﺒﻠﻎ ﺇﺣﺪﻯ‬
‫ﻭﺛﻼﺛﲔ ﻭﻇﻴﻔﺔ‪،‬ﻭﻻ ﻳﻌﲏ ﻫﺬﺍ ﺃﻥﹼ ﻫﺬﻩ ﺍﻟﻮﻇﺎﺋﻒ ﲨﻴﻌﺎ ﺗﺮﺩ ﰲ ﻛﻞﹼ ﺣﻜﺎﻳﺔ‪ ،‬ﻭﻟﻜﻦ ﻛﻞﹼ ﻣﺎ ﻳﺮﺩ ﻣﻨﻬﺎ‬
‫ﰲ ﻛﻞﹼ ﺣﻜﺎﻳﺔ ﻻ ﳜﺮﺝ ﻋﻦ ﺣﺪﻭﺩ ﻫﺬﻩ ﺍﻟﻮﻇﺎﺋﻒ‪ ،‬ﻛﻤﺎ ﺃﻥﹼ ﻣﺎ ﻳﺮﺩ ﻣﻨﻬﺎ ﰲ ﺣﻜﺎﻳﺔ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ‬
‫) ‪(2‬‬
‫ﳜﻀﻊ ﻟﻨﻈﺎﻡ ﺛﺎﺑﺖ"‪.‬‬
‫ﺇﺫﻥ ﻟﻘﺪ ﺣﺼﺮ ﺑﺮﻭﺏ ﻋﺪﺩ ﺍﻟﻮﻇﺎﺋﻒ ﰲ ﺇﺣﺪﻯ ﻭﺛﻼﺛﲔ ﻭﻇﻴﻔﺔ‪ ،‬ﻣﻌﺮ‪‬ﻓﹰﺎ ﺍﻟﻮﺍﺣﺪﺓ ﻣﻨﻬﻢ ﺑﺄ‪‬ﺎ‬
‫"ﻓﻌﻞ ﺷﺨﺼﻴﺔ ﻗﺪ ﺣﺪ‪‬ﺩ ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﺩﻻﻟﺘﻪ ﰲ ﺳﲑﻭﺭﺓ ﺍﳊﺒﻜﺔ" )‪(3‬ﻭﻫﻲ ﺗﻌﻤﻞ ﲟﻌﺰﻝ ﻋﻦ‬
‫ﺍﻟﺸﺨﻮﺹ ﻭﻃﺮﻳﻘﺔ ﺗﻨﻔﻴﺬﻫﺎ‪.‬‬
‫ﻭﺗﻌﺘﱪ ﺍﻟﻮﺿﻌﻴﺔ ﺍﻻﺳﺘﻬﻼﻟﻴﺔ ﺃﻭﻝ ﻣﺎ ﺗﺒﺘﺪﺉ ﺑﻪ ﺍﳊﻜﺎﻳﺔ ﺇﺫ ﲤﻬﺪ ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﻟﻈﻬﻮﺭ‬
‫ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﺘﻤﻬﻴﺪﻳﺔ ﺍﻷﺧﺮﻯ "ﻓﺄﻣ‪‬ﺎ ﺃﻥ ﺗﺘﺤﺪﺙ ﺍﳊﻜﺎﻳﺔ ﻋﻦ ﺃﺳﺮﺓ ﻭﻋﻦ ﻋﺪﺩ ﺃﻓﺮﺍﺩﻫﺎ‪ ،‬ﻭﺃﻣ‪‬ﺎ ﺃﻥ ﺗﺒﺪﺃ‬
‫) ‪(4‬‬
‫ﺑﺎﳊﺪﻳﺚ ﻋﻦ ﺍﻟﺒﻄﻞ ﻭﺗﺬﻛﺮ ﺃﻭﺻﺎﻓﻪ"‪.‬‬
‫) ‪(5‬‬
‫ﺑﻌﺪ ﺍﻟﻮﺿﻌﻴﺔ ﺍﻻﺳﺘﻬﻼﻟﻴﺔ ﳕﻴ‪‬ﺰ ﺍﻟﺘﺮﺗﻴﺐ ﺍﻟﺘﺎﱄ‪:‬‬
‫‪ -1‬ﺃﺣﺪ ﺃﻓﺮﺍﺩ ﺍﻟﻌﺎﺋﻠﺔ ﻳﺬﻫﺐ ﺑﻌﻴﺪ‪‬ﺍ ﻋﻦ ﺍﻟﺒﻴﺖ )ﺍﻟﺘ‪‬ﻌﺮﻳﻒ‪ :‬ﻧﺄﻱ‪ ،‬ﺍﻟﻨﻌﺖ‪(β‬‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ ‪:‬ﺹ‪.26‬‬

‫)‪(2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪:‬ﺹ‪.26‬‬
‫)‪ (3‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﻣﻨﻄﻖ ﺍﻟﺴﺮﺩ‪ ،‬ﺹ‪.20‬‬
‫)‪ (4‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪.21 ،20‬‬
‫)‪ (5‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.21-20‬‬
‫‪- 19 -‬‬
 ‫‪ -2‬ﺇﺷﻌﺎﺭ ﺍﻟﺒﻄﻞ ﺑﻮﺟﻮﺩ ﻣﻨﻊ‪) ،‬ﺍﻟﺘ‪‬ﻌﺮﻳﻒ‪ :‬ﻣﻨﻊ‪ ،‬ﺍﻟﻨﻌﺖ‪(γ‬‬
‫‪ -3‬ﺍﻧﺘﻬﺎﻙ ﺍﳌﻨﻊ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺍﻧﺘﻬﺎﻙ‪ ،‬ﺍﻟﻨﻌﺖ‪( δ:‬‬
‫‪ -4‬ﺍﳌﻌﺘﺪﻱ ﳛﺎﻭﻝ ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﻣﻌﻠﻮﻣﺎﺕ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺍﺳﺘﻨﻄﺎﻕ‪ ،‬ﺍﻟﻨﻌﺖ ‪(Є‬‬
‫‪ -5‬ﺍﳌﺘﻌﺪﻱ ﻳﺘﻠﻘﹼﻰ ﺃﺧﺒﺎﺭ‪‬ﺍ ﺣﻮﻝ ﺿﺤﻴ‪‬ﺘﻪ )ﺍﻟﺘ‪‬ﻌﺮﻳﻒ‪ :‬ﺇﺧﺒﺎﺭ‪ ،‬ﺍﻟﻨﻌﺖ ‪(‬‬
‫‪ -6‬ﺍﳌﺘﻌﺪﻱ ﳛﺎﻭﻝ ﺧﺪﺍﻉ ﺿﺤﻴﺘﻪ ﻟﻠﺴﻴﻄﺮﺓ ﻋﻠﻴﻬﺎ ﺃﻭ ﻋﻠﻰ ﳑﺘﻠﻜﺎ‪‬ﺎ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺧﺪﻋﺔ‪،‬ﺍﻟﻨﻌﺖ‪(η :‬‬
‫‪ -7‬ﺍﻟﻀﺤﻴﺔ ﺗﻘﻊ ﰲ ﺣﺒﺎﺋﻞ ﺍﳋﺪﻋﺔ ﻭﺑﺬﻟﻚ ﺗ‪‬ﻌﲔ ﻋﺪﻭ‪‬ﻫﺎ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻨﻬﺎ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺗﻮﺍﻃﺆ‬
‫ﺍﻟﻨﻌﺖ‪( θ :‬‬
‫‪ -8‬ﺍﳌﻌﺘﺪﻱ ﻳﻠﺤﻖ ﺿﺮﺭ‪‬ﺍ ﺑﺄﺣﺪ ﺃﻓﺮﺍﺩ ﺍﻷﺳﺮﺓ ﺃﻭ ﻳﺴﻲﺀ ﺇﻟﻴﻪ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺇﺳﺎﺀﺓ‪ ،‬ﺍﻟﻨﻌﺖ‪(A:‬‬
‫‪ -8‬ﺷﻲﺀ ﻣﺎ ﻳﻨﻘﺺ ﺃﺣﺪ ﺃﻓﺮﺍﺩ ﺍﻟﻌﺎﺋﻠﺔ‪ ،‬ﺃﺣﺪ ﺃﻓﺮﺍﺩ ﺍﻟﻌﺎﺋﻠﺔ ﻳﺮﻏﺐ ﰲ ﺍﻣﺘﻼﻙ ﺷﻲ )ﺍﻟﺘﻌﺮﻳﻒ ‪:‬ﻧﻘﺺ‬
‫ﺍﻟﻨﻌﺖ‪(a:‬‬
‫‪ -9‬ﺧﱪ ﺍﻹﺳﺎﺀﺓ ﺃﻭ ﺍﻟﻨﻘﺺ ﻳﻨﺘﺸﺮ‪ ،‬ﻭﻳﺘﻢ ﺍﻟﺘﻮﺟﻪ ﺇﱃ ﺍﻟﺒﻄﻞ ﺑﻄﻠﺐ ﺃﻭ ﺑﺄﻣﺮ‪ ،‬ﻓﻴﺒﻌﺚ ﺃﻭ ﻳﺘﺮﻙ‬
‫ﻟﻴﺬﻫﺐ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﻭﺳﺎﻃﺔ‪ ،‬ﳊﻈﺔ ﺍﻧﺘﻘﺎﻝ ‪ ،‬ﺍﻟﻨﻌﺖ‪.(B:‬‬
‫‪ -10‬ﺍﻟﺒﻄﻞ ﺍﻟﺒﺎﺣﺚ ﻳﻘﺒﻞ ﺍﻟﺴﻌﻲ ﺃﻭ ﻳﻘﺮ‪‬ﺭﻩ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺍﺳﺘﻬﻼﻝ ﺍﻟﻔﻌﻞ ﺍﳌﻌﺎﻛﺲ‪ ،‬ﺍﻟﻨﻌﺖ‪.(C:‬‬
‫‪ -11‬ﺍﻟﺒﻄﻞ ﻳﻐﺎﺩﺭ ﻣﻨﺰﻟﻪ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺍﻧﻄﻼﻕ‪ ،‬ﺍﻟﻨﻌﺖ‪( :‬‬
‫‪ -12‬ﺍﻟﺒﻄﻞ ﻳﺘﻌﺮﺽ ﻻﺧﺘﺒﺎﺭ ﺃﻭ ﺍﺳﺘﻨﻄﺎﻕ ﺃﻭ ﻫﺠﻮﻡ‪ ...‬ﺍﱁ ﻳﻬﻴ‪‬ﺆ‪‬ﻩ ﻟﺘﻠﻘﹼﻲ ﺃﺩﺍﺓ ﺃﻭ ﻣﺴﺎﻋﺪﺓ ﺳﺤﺮﻳﺔ‬
‫)ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﻭﻇﻴﻔﺔ ﺍﻟﻮﺍﻫﺐ ﺍﻷﻭﱃ‪ ،‬ﺍﻟﻨﻌﺖ‪(D:‬‬
‫‪ -13‬ﺍﻟﺒﻄﻞ ﻳﺮﺩ ﻋﻠﻰ ﺃﻓﻌﺎﻝ ﺍﻟﻮﺍﻫﺐ ﺍﳌﻘﺒﻞ )ﺍﻟﺘ‪‬ﻌﺮﻳﻒ‪ :‬ﺭﺩ ﻓﻌﻞ ﺍﻟﺒﻄﻞ‪ ،‬ﺍﻟﻨﻌﺖ‪.(E :‬‬
‫‪ -14‬ﺗﻮﺿﻊ ﺍﻷﺩﺍﺓ ﺍﻟﺴﺤﺮﻳﺔ ﲢﺖ ﺗﺼﺮﻑ ﺍﻟﺒﻄﻞ)ﺍﻟﺘﻌﺮﻳﻒ‪:‬ﺍﺳﺘﻼﻡ ﺍﻷﺩﺍﺓ ﺍﻟﺴﺤﺮﻳﺔ ‪,‬ﺍﻟﻨﻌﺖ‪(F :‬‬

‫‪ -15‬ﻳ‪‬ﻨﻘﻞ ﺍﻟﺒﻄﻞ ﺃﻭ ﻳ‪‬ﺮﺷﺪ ﺃﻭ ﻳ‪‬ﻘﺎﺩ ﺇﱃ ﺟﻮﺍﺭ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﻳﻮﺟﺪ ﺑﻪ ﻣﻮﺿﻮﻉ ﲝﺜﻪ )ﺍﻟﺘﻌﺮﻳﻒ‪:‬‬
‫ﺗﻨﻘﻞ ﰲ ﺍﳌﻜﺎﻥ ﺑﲔ ﳑﻠﻜﺘﲔ‪ ،‬ﺳﻔﺮ ﺑﺼﺤﺒﺔ ﺩﻟﻴﻞ‪ ،‬ﺍﻟﻨﻌﺖ‪.(G:‬‬
‫‪ -16‬ﺍﻟﺒﻄﻞ ﻭﺍﳌﻌﺘﺪﻯ ﻋﻠﻴﻪ ﻳﺘﺒﺎﺭﺯﺍﻥ ﰲ ﻣﻌﺮﻛﺔ )ﺍﻟﺘﻌﺮﻳﻒ‪:‬ﻣﻌﺮﻛﺔ‪ ،‬ﺍﻟﻨﻌﺖ‪.(H :‬‬
‫‪ -17‬ﻳﺘﻠﻘﻰ ﺍﻟﺒﻄﻞ ﻋﻼﻣﺔ )ﺍﻟﺘﻌﺮﻳﻒ‪:‬ﻋﻼﻣﺔ‪ ،‬ﺍﻟﻨﻌﺖ‪( I :‬‬
‫‪- 20 -‬‬
 ‫‪ -18‬ﻳﻨﻬﺰﻡ ﺍﳌﺘﻌﺪﻱ)ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺍﻧﺘﺼﺎﺭ‪ ،‬ﺍﻟﻨﻌﺖ‪(J:‬‬
‫‪ -19‬ﺇﺻﻼﺡ ﺍﻹﺳﺎﺀﺓ ﺍﻟﺒﺪﻧﻴﺔ‪ ،‬ﻭﺗﻌﻮﻳﺾ ﺍﻟﻨﻘﺺ)ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺇﺻﻼﺡ‪ ،‬ﺍﻟﻨﻌﺖ‪(K:‬‬
‫‪-20‬ﻳﻌﻮﺩ ﺍﻟﺒﻄﻞ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﻋﻮﺩﺓ‪ ،‬ﺍﻟﻨﻌﺖ‪( :‬‬
‫‪ -21‬ﻳ‪‬ﻄﺎﺭﺩ ﺍﻟﺒﻄﻞ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﻣﻄﺎﺭﺩﺓ‪ ،‬ﺍﻟﻨﻌﺖ‪(Pr :‬‬
‫‪-22‬ﻳﻐﺎﺙ ﺍﻟﺒﻄﻞ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﳒﺪﺓ‪ ،‬ﺍﻟﻨﻌﺖ‪(Rs :‬‬
‫‪ -23‬ﻳﺼﻞ ﺍﻟﺒﻄﻞ ﻣﺘﻨﻜﺮﺍ ﺇﱃ ﺑﻴﺘﻪ ﺃﻭ ﺇﱃ ﻗﻄﺮ ﺁﺧﺮ)ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﻭﺻﻮﻝ ﻣﺘﻨﻜﹼﺮ‪ ،‬ﺍﻟﻨﻌﺖ‪(O :‬‬
‫‪ -24‬ﺑﻄﻞ ﻣﺰﻳﻒ ﻳﺪﻋﻲ ﻟﻨﻔﺴﻪ ﺩﻋﺎﻭﻱ ﻛﺎﺫﺑﺔ‪) ،‬ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺩﻋﺎﻭﻯ ﻛﺎﺫﺑﺔ‪ ،‬ﺍﻟﻨﻌﺖ‪(L :‬‬
‫‪-25‬ﺗ‪‬ﻘﺘﺮﺡ ﻋﻠﻰ ﺍﻟﺒﻄﻞ ﻣﻬﻤﺔ ﺻﻌﺒﺔ ‪ ):‬ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﻣﻬﻤ‪‬ﺔ ﺻﻌﺒﺔ‪ ،‬ﺍﻟﻨﻌﺖ‪( M :‬‬
‫‪-26‬ﺇﳒﺎﺯ ﺍﳌﻬﻤﺔ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﻣﻬﻤﺔ ﻧﺎﺟﺰﺓ‪ ،‬ﺍﻟﻨﻌﺖ‪.(N :‬‬
‫‪ -27‬ﺍﻟﺘﻌﺮ‪‬ﻑ ﻋﻠﻰ ﺍﻟﺒﻄﻞ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺗﻌﺮ‪‬ﻑ‪ ،‬ﺍﻟﻨﻌﺖ‪.(Q :‬‬
‫‪ -28‬ﻳﻜﺘﺸﻒ ﻗﻨﺎﻉ ﺍﻟﺒﻄﻞ ﺍﳌﺰﻳ‪‬ﻒ ﺃﻭ ﺍﳌﻌﺘﺪﻱ‪ ،‬ﺃﻭ ﺍﻟﺸﺮ‪‬ﻳﺮ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺍﻛﺘﺸﺎﻑ‪،‬ﺍﻟﻨﻌﺖ‪(Ex :‬‬
‫‪ -29‬ﻳﻜﺘﺴﻲ ﺍﻟﺒﻄﻞ ﻣﻈﻬﺮ‪‬ﺍ ﺟﺪﻳﺪ‪‬ﺍ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺗﻐﻴ‪‬ﺮ ﺍﳍﻴﺌﺔ‪ ،‬ﺍﻟﻨﻌﺖ‪(T:‬‬
‫‪ -30‬ﻳ‪‬ﻌﺎﻗﺐ ﺍﻟﺒﻄﻞ ﺍﳌﺰﻳ‪‬ﻒ ﺃﻭ ﺍﳌﻌﺘﺪﻱ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﻋﻘﺎﺏ‪ ،‬ﺍﻟﻨﻌﺖ‪(U:‬‬
‫‪ -31‬ﻳﺘﺰﻭﺝ ﺍﻟﺒﻄﻞ ﻭﻳﺮﺗﻘﻲ ﺇﱃ ﺍﻟﻌﺮﺵ )ﺍﻟﺘﻌﺮﻳﻒ‪ :‬ﺯﻭﺍﺝ‪ ،‬ﺍﻟﻨﻌﺖ‪.(W:‬‬
‫ﺇﻥﹼ ﻫﺬﺍ ﺍﳍﻴﻜﻞ ﺍﻟﺒﻨﺎﺋﻲ ﺍﻟﺬﻱ ﻭﺿﻌﺔ ﺑﺮﻭﺏ ﻟﻠﺤﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﻭﺍﳌﺆﻟﻒ ﻣﻦ ﻭﺍﺣﺪ ﻭﺛﻼﺛﲔ‬
‫ﻭﻇﻴﻔﺔ‪ ،‬ﻗﺪ ﺳﺎﻋﺪ ﻓﻴﻤﺎ ﺑﻌﺪ ﰲ ﺍﻹﻓﺎﺩﺓ ﻣﻨﻪ ﻟﺪﺭﺍﺳﺔ ﺍﻷﳕﺎﻁ ﺍﻷﺧﺮﻯ ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺧﺎﺻﺔ‬
‫ﺑﻌﺪ ﺗﺮﲨﺔ ﻛﺘﺎﺑﻪ ﺇﱃ ﳐﺘﻠﻒ ﻟﻐﺎﺕ ﺍﻟﻌﺎﱂ‪.‬‬

‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻧ‪‬ﻪ ﻟﻴﺲ ﺷﺮﻃﺎ ﺃﻥ ﺗﺘﻮﻓﺮ ﻛﻞ ﺍﻟﻮﻇﺎﺋﻒ ﺃﻭ ﲡﺘﻤﻊ ﰲ ﺣﻜﺎﻳﺔ ﻭﺍﺣﺪﺓ ﺑﻞ‬
‫ﻗﺪ ﲢﻀﺮ ﻭﻇﺎﺋﻒ ﻭﺗﻐﻴﺐ ﺃﺧﺮﻯ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ ﻣﺘﻔﺎﻭﺗﺔ ﻣﻦ ﺣﻴﺚ ﺍﻷﳘﻴﺔ "ﺭﲟﺎ ﻛﺎﻧﺖ ﺃﻫﻢ ﻭﻇﻴﻔﺔ ﻣﻦ‬
‫ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﱵ ﻋﺪ‪‬ﺩﻫﺎ ﺑﺮﻭﺏ‪ ،‬ﻭﻫﻲ ﺗﻠﻚ ﺍﻟﱵ ﻻ ﳝﻜﻦ ﺃﻥ ﺗﺴﺘﻐﲏ ﻋﻨﻬﺎ ﺃﻳﺔ ﺣﻜﺎﻳﺔ ﻫﻲ ﺍﻟﻮﻇﻴﻔﺔ‬

‫‪- 21 -‬‬
‫ﺭﻗﻢ )‪ (8A‬ﻭﻫﻲ ﺍﻟﱵ ﺗﻘﻊ ﲢﺖ ﻋﻨﻮﺍﻥ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺸﺮﻳﺮﺓ ﺗﺴﺒﺐ ﺍﻷﺫﻯ ﻷﺣﺪ ﺃﻓﺮﺍﺩ ﺍﻷﺳﺮﺓ‬
‫) ‪(1‬‬
‫ﻓﻬﺬﻩ ﺍﻟﻮﻇﻴﻔﺔ‪ ،‬ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﺑﺮﻭﺏ ﻫﻲ ﺍﻟﱵ ﲣﻠﻖ ﺍﳊﺮﻛﺔ ﺍﳊﻘﻴﻘﻴﺔ ﰲ ﺍﳊﻜﺎﻳﺔ"‬
‫ﻛﻤﺎ ﻳﺬﻫﺐ ﺑﺮﻭﺏ ﺇﱃ ﺃﻥ ﺍﻟﻮﻇﻴﻔﺔ ﺭﻗﻢ)‪ (8a‬ﺑﺎﻟﻐﺔ ﺍﻷﳘﻴﺔ ﺃﻳﻀﺎ‪ ،‬ﻭﺍﳌﺘﻌﻠﻘﺔ ﺑﺈﺣﺴﺎﺱ ﺃﺣﺪ‬
‫ﺃﻓﺮﺍﺩ ﺍﻷﺳﺮﺓ ﺑﻨﻘﺺ ﰲ ﺣﻴﺎﺗﻪ‪ ،‬ﺃﻭ ﺭﻏﺒﺘﻪ ﰲ ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﺷﻲﺀ " ﻓﺒﻨﺎﺀﺍ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻮﻇﻴﻔﺔ ﻛﺬﻟﻚ‬
‫ﺗﻨﺸﺄ ﺍﳊﺮﻛﺔ ﺍﻷﺳﺎﺳﻴﺔ ﰲ ﺍﳊﻜﺎﻳﺔ" )‪ ،(2‬ﻭﻣﻦ ﰒ ﻓﺈﻥﹼ ﻛﻞﹼ ﺣﻜﺎﻳﺔ ﻻﺑﺪ ﺃﻥ ﲢﺘﻮﻱ ﺇﻣ‪‬ﺎ ﻋﻠﻰ ﺍﻟﻮﻇﻴﻔﺔ‬
‫ﺭﻗﻢ )‪ (8A‬ﺃﻭ ﻋﻠﻰ ﺍﻟﻮﻇﻴﻔﺔ ﺭﻗﻢ )‪ ،(8a‬ﻭﻗﺪ ﲡﻤﻊ ﺍﳊﻜﺎﻳﺔ ﺍﻟﻮﺍﺣﺪﺓ ﺑﲔ ﺍﻟﻮﻇﻴﻔﺘﲔ‪.‬‬
‫ﺇﻥﹼ ﺍﳌﻨﻬﺞ ﺍﻟﺘﺤﻠﻴﻠﻲ ﺍﳌﻮﺭﻓﻮﻟﻮﺟﻲ ﺍﻟﺬﻱ ﻭﺿﻌﺔ ﺑﺮﻭﺏ ‪ propp‬ﻳﻌﺘﱪ ﻋﻼﻣﺔ ﳑﻴ‪‬ﺰﺓ ﰲ‬
‫ﺗﺎﺭﻳﺦ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻨﻴﻮﻳﺔ ﻟﻠﻘﺼﺺ ﺍﻟﺸﻌﱯ‪ ،‬ﺑﻞ ﺍﻋﺘﱪﻩ ﺍﻟﺒﺎﺣﺜﻮﻥ ﺃﺳﺎﺳ‪‬ﺎ ﻷﲝﺎﺛﻬﻢ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﻓﻬﺬﺍ‬
‫ﻳﺘﺒﻨ‪‬ﻰ ﺍﳌﻨﻬﺞ ﺑﺄﻛﻤﻠﻪ‪ ،‬ﻭﺫﺍﻙ ﳚﺮﻱ ﻋﻠﻴﻪ ﺑﻌﺾ ﺍﻟﺘﻌﺪﻳﻼﺕ‪ ،‬ﻭﺍﻵﺧﺮ ﻳﻜﺸﻒ ﻣﻨﻬﺠﺎ ﻣﻮﺍﺯﻳ‪‬ﺎ ﳌﻨﻬﺞ‬
‫ﺑﺮﻭﺏ‪ ،‬ﻟﻜﻦ ﻣﻨﻄﻠﻘﺎﺗﻪ ﳐﺘﻠﻔﺔ‪.‬‬
‫ﻗﺎﻡ" ﺁﻻﻥ ﺩﻧﺪﺱ" ﺑﺈﻋﺎﺩﺓ ﺍﻟﻨﻈﺮ ﰲ ﻣﺴﺄﻟﺔ ﲢﺪﻳﺪ ﻣﻔﻬﻮﻡ ﺍﻟﻮﻇﻴﻔﺔ‪ ،‬ﻣﺴﺘﻌﻴﻨﺎ ﺑﺎﻟﻨﻤﻮﺫﺝ ﺍﻟﺬﻱ‬
‫ﺍﻗﺘﺮﺣﻪ" ﻛﻴﻨﻴﺖ ﻙ‪ ،‬ﺑﻴﻚ" ﻟﺘﺤﻠﻴﻞ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﺒﻨﺎﺋﻴﺔ ﻟﻠﺴﻠﻮﻙ ﺍﻟﺒﺸﺮﻱ‪ ،‬ﻭﻗﺪ ﺭﺃﻯ" ﺑﻴﻚ" ﺃﻥ ﻛﻞﹼ‬
‫ﻭﺣﺪﺓ ﺑﻨﺎﺋﻴﺔ ﲢﻤﻞ ﺛﻼﺙ ﺻﻔﺎﺕ ﺃﻭ ﻣﻼﻣﺢ‪-1 :‬ﺍﳌﻠﻤﺢ ﺍﻟﺼﻮﺭﻱ‪ -2،‬ﺍﳌﻠﻤﺢ ﺍﳌﻠﻤﻮﺱ‪-3،‬ﺍﳌﻠﻤﺢ‬
‫ﺍﻟﺘﻮﺯﻋﻲ ‪ ،(3) "...‬ﻓﺎﳌﻠﻤﺢ ﺍﻷﻭﻝ ﻳﻨﻄﺒﻖ ﻭﻣﺼﻄﻠﺢ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺬﻱ ﺣﺪﺩﻩ ﺑﺮﻭﺏ ﰲ ﺣﲔ ﺍﳌﻤﻠﺢ‬
‫ﺍﻟﺜﺎﱐ ﻣﺮﺗﺒﻂ ﺑﺎﻟﺘﺤﻘﻖ ﺍﳌﻠﻤﻮﺱ ﻟﻠﻮﻇﻴﻔﺔ ﰲ ﻛﻞ ﻗﺼﺔ ‪ ،‬ﺃﻣﺎ ﺍﳌﻤﻠﺢ ﺍﻟﺜﺎﻟﺚ ﻓﺘﻤﺜﻠﻪ ﻣﻜﺎﻧﺔ ﺃﻭ ﺗﺮﺗﻴﺐ‬
‫ﺍﻟﻮﻇﻴﻔﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻮﻇﺎﺋﻒ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﻟﻘﺪ ﺗﻌﺮﺽ ﺑﺮﻭﺏ ﻭﻣﻨﻬﺠﻪ ﺍﳌﻮﺭﻓﻮﻟﻮﺟﻲ ﻟﻠﻨﻘﺪ ﻣﻦ ﻗﺒﻞ ﺍﻟﺒﺎﺣﺜﲔ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ‪ ،‬ﺣﻴﺚ ﻳﺮﻯ‬
‫ﺩﻧﺪﺱ" ﺃﻥﹼ ﻣﺼﻄﻠﺢ ﺍﻟﻮﻇﻴﻔﺔ ﻋﻨﺪ ﺑﺮﻭﺏ ﳛﻤﻞ ﻣﻌﲎ ﻋﺎﻣﺎ ﻭﻏﺎﻣﻀﺎ ﻭﻟﻪ ﻋﺪﺓ ﻣﻀﺎﻣﲔ ﰲ ﺩﻻﻟﺘﻪ‬
‫ﻋﻠﻰ ﺍﻟﻮﺣﺪﺓ ﺍﻟﻘﺼﺼﻴﺔ ﺍﻟﺼﻐﺮﻯ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺑﺮﻭﺏ ﱂ ﻳﻘﺘﺮﺡ ﻣﺼﻄﻠﺤﺎ ﻟﺘﻤﻴﻴﺰ ﺍﳌﻀﺎﻣﲔ ﺍﳌﺘﻐﻴ‪‬ﺮﺓ‪ ،‬ﺍﻟﱵ‬
‫) ‪(4‬‬
‫ﺗﺸﻐﻞ ﺍﻟﻮﻇﻴﻔﺔ‪ ،‬ﻭﻗﺪ ﺳﺪ‪" ‬ﺑﻴﻚ"ﻫﺬﻩ ﺍﻟﻔﺠﻮﺓ ﺑﺎﺳﺘﻌﻤﺎﻟﻪ ﳌﺼﻄﻠﺤﻲ ﻣﻮﺗﻴﻒ ﻭ ﺃﻟﻮﻣﻮﺗﻴﻒ‪" ..‬‬
‫ﰲ ﺣﲔ ﻳﺬﻫﺐ ﻟﻴﻔﻲ ﺳﺘﺮﻭﺱ ﺇﱃ ﻭﺻﻒ ﺑﺮﻭﺏ ﺑﺄﻧ‪‬ﻪ ﺷﻜﻼﱐ ﻻ ﳝﻜﻦ ﺃﻥ ﻧﺼﻨﻔﻪ ﺃﻭ ﺣﱴ‬
‫ﻧﻨﺴﺒﻪ ﻟﻠﺒﻨﻴﻮﻳﲔ ﻷﻧﻪ "ﻋﺰﻝ ﺍﻟﺸﻜﻞ ﻋﻦ ﺍﶈﺘﻮﻯ‪ ،‬ﻋﻨﺪﻣﺎ ﻓﺮﻕ ﺑﲔ ﺃﻓﻌﺎﻝ ﺍﻟﺸﺨﻮﺹ)ﺍﻟﻮﻇﺎﺋﻒ( ﻣﻦ‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ ‪ ،‬ﺹ‪.27‬‬

‫)‪ (2‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.27‬‬
‫)‪ (3‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﻣﻨﻄﻖ ﺍﻟﺴﺮﺩ‪،‬ﺹ‪.24‬‬
‫)‪ (4‬ﻋﺒﺪ ﺍﳊﻤﺒﺪ ﺑﻮﺭﺍﻳﻮ‪:‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ ‪،‬ﺹ‪.25‬‬
‫‪- 22 -‬‬
‫ﺟﻬﺔ‪ ،‬ﻭﺍﻟﺸﺨﻮﺹ ﺍﻟﺬﻳﻦ ﻳﻘﻮﻣﻮﻥ ‪‬ﺬﻩ ﺍﻷﻓﻌﺎﻝ‪،‬ﻭﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﻳﺘﻢ ‪‬ﺎ ﺗﻨﻔﻴﺬﻫﺎ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪.‬‬
‫ﻭﺍﻋﺘﱪ ﺍﻷﻭﱃ ﺻﻮﺭﺓ ﺛﺎﺑﺘﺔ‪ ،‬ﺗﻘﺒﻞ ﺍﻟﺪﺭﺍﺳﺔ ﺍﳌﻮﺭﻓﻮﻟﻮﺟﻴﺔ‪ ،‬ﻭﺍﻟﺜﺎﻧﻴﺔ ﻋﺒﺎﺭﺓ ﻋﻦ ﳏﺘﻮﻯ ﺗﻌﺴﻔﻲ ﳝﻜﻦ‬
‫) ‪(1‬‬
‫ﻋﺰﻟﻪ ‪،‬ﻭﳍﺬﺍ ﻭﺿﻊ ﺑﺮﻭﺏ ﻧﻔﺴﻪ ﻋﻠﻰ ﻃﺮﻑ ﻧﻘﻴﺾ ﻣﻊ ﺍﻟﺒﻨﻴﻮﻳﲔ "‪.‬‬
‫ﺇﻥﹼ ﻫﺬﺍ ﺍﻻﺧﺘﻼﻑ ﺍﻟﺒﺎﺋﻦ ﰲ ﻭﺟﻬﺎﺕ ﺍﻟﻨﻈﺮ ﺣﻮﻝ ﺩﺭﺍﺳﺔ ﻧﺺ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﲰﺢ ﺑﺘﺰﺍﻳﺪ‬
‫ﺍﻻﻫﺘﻤﺎﻡ ﻟﺪﺭﺍﺳﺔ ﺍﻷﻧﻮﺍﻉ ﺍﻷﺩﺑﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﻓﻘﺎ ﻟﻠﻤﻨﻬﺞ ﺍﻟﺘﺤﻠﻴﻠﻲ ﺍﻟﺒﻨﺎﺋﻲ‪ ،‬ﺧﺎﺻﺔ ﻣﻊ ﻇﻬﻮﺭ ﺃﻋﻤﺎﻝ‬
‫ﻟﻴﻔﻲ ﺳﺘﺮﺍﻭﺱ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺃﺩﻯ ﺇﱃ ﺑﺮﻭﺯ ﺍﲡﺎﻫﲔ ﺳﻴﻄﺮﺍ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺔ‪ :‬ﺍﻻﲡﺎﻩ‬
‫ﺍﻷﻭﻝ ﳝﺜﻠﻪ )ﺑﺮﻭﺏ(‪" ،‬ﻭﻳﻬﺪﻑ ﺇﱃ ﻭﺻﻒ ﺍﻟﻨﻈﺎﻡ ﺍﻟﺸﻜﻠﻲ ﻟﻠﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻭﻓﻘﺎ ﻟﻠﺘﺘﺎﺑﻊ ﺍﻟﺰﻣﲏ‬
‫ﻟﻸﺣﺪﺍﺙ‪ ،‬ﻭﻗﺪ ﺳ‪‬ﻤﻲ ﻫﺬﺍ ﺍﻻﲡﺎﻩ‪ :‬ﲢﻠﻴﻞ ﺍﻟﺒﻨﺎﺀ ﺍﻟﺘﺮﻛﻴﱯ‪ ...‬ﺃﻣﺎ ﺍﻻﲡﺎﻩ ﺍﻟﺜﺎﱐ ﻓﻴﻤﺜﻠﻪ ﻟﻴﻔﻲ ﺳﺘﺮﺍﻭﺱ‬
‫) ‪(2‬‬
‫ﻭﻳﺴﻤﻰ ﲢﻠﻴﻞ ﺍﻟﺒﻨﺎﺀ ﺍﻟﱪﺍﺩﲨﺎﰐ "‬
‫ﻟﻘﺪ ﺍﻫﺘﻢ ﻣﻨﻬﺞ ﻟﻴﻔﻲ ﺳﺘﺮﺍﻭﺱ ﺑﺎﻟﻜﺸﻒ ﻋﻦ ﺍﻟﺒﻨﺎﺀ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻟﺬﻱ ﺗﻌﻴﺶ ﻭﺗﻨﺸﺄ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻛﻨﻔﻪ ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﺨﻼﺻﻪ ﻟﻠﻮﺣﺪﺍﺕ ﺍﳌﺘﻌﺎﺭﺿﺔ ﻣﻦ ﺍﻟﻨﺺ‪.‬‬
‫ﻛﻤﺎ ﻣﺜﹼﻞ ﻧﺺ ﺍﳊﻜﺎﻳﺔ ﻓﻀﺎﺀ ﺭﺣﺒﺎ ﳌﺨﺘﻠﻒ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻨﻴﻮﻳﺔ‪ ،‬ﻭﺍﳌﺘﻌﻠﻘﺔ ﺑﻌﻨﺎﺻﺮ ﺍﳊﻜﺎﻳﺔ ﺍﳌﺘﻨﻮﻋﺔ‬
‫ﺍﻟﱵ ﺗﺸﻜﻞ ﻫﻴﻜﻠﻬﺎ ﺍﻟﻌﺎﻡ‪ ،‬ﺣﻴﺚ ﺗﻨﻮﻋﺖ ﺑﻌﺪ ﺫﻟﻚ ﺍﻷﲝﺎﺙ ﺍﻟﻨﻈﺮﻳﺔ‪ ،‬ﻭﺃﺻﺒﺢ ﺍﻻﻫﺘﻤﺎﻡ ﻣﻨﺼﺒﺎ‬
‫ﺣﻮﻝ ﺗﻮﺳﻴﻊ ﳎﺎﻝ ﺗﻄﺒﻴﻘﺎﺕ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﺴﺮﺩﻱ‪ ،‬ﻭﺍﻟﺬﻱ ﺳﺎﺭ ﺑﺪﻭﺭﻩ ﺇﱃ ﻧﻈﺮﻳﺔ ﲰﻴﺎﺋﻴﺔ ﻋﺎﻣﺔ‪.‬‬
‫"ﻓﻘﺪ ﺃﺧﺬ ﺃ‪.‬ﺝ‪ .‬ﺟﺮﳝﺎﺱ ﻣﻦ ﺍﻟﻨﺘﺎﺋﺞ ﺍﻟﱵ ﺍﺳﺘﺨﻼﺻﻬﺎ ﺑﺮﻭﺏ ﻛﻘﺎﻋﺪﺓ ﻟﺒﻨﺎﺀ ﻧﻮﻋﲔ ﻣﻦ ﺍﻟﻨﻤﺎﺫﺝ‪:‬‬
‫‪ -1‬ﳕﺎﺫﺝ ﻟﻸﺩﻭﺍﺭ ﺍﻟﻘﺼﺼﻴﺔ‪-2،‬ﳕﺎﺫﺝ ﻟﻠﺘﺤﻮﻝ ﺍﻟﺬﻱ ﻳﺼﻴﺐ ﳏﺘﻮﻯ ﻫﺬﻩ ﺍﻷﺩﻭﺍﺭ ﻣﺴﺘﻌﻴﻨﺎ ﲟﻨﻬﺞ‬
‫ﻟﻴﻔﻲ ﺳﺘﺮﺍﻭﺱ ﰲ ﺭﺻﺪﻩ ﻟﻠﺜﻨﺎﺋﻴﺎﺕ ﺍﳌﺘﻘﺎﺑﻠﺔ‪ ،‬ﻭﺗﻮﺍﻟﺪﻫﺎ ﻋﻦ ﻃﺮﻳﻖ ﻣﺒﺪﺃ ﺍﻟﻮﺳﺎﻃﺔ ﻭﺇﻗﺎﻣﺔ ﺻﻴﻎ‬
‫ﺭﻳﺎﺿﻴﺔ ﻣﻌﺎﺩﻟﺔ ﻟﻠﻌﻼﻗﺎﺕ ﺍﻟﻘﺎﺋﻤﺔ ﺑﲔ ﻋﻨﺎﺻﺮ ﺍﻟﻘﺼﺔ‪ ،‬ﲟﺴﺎﻋﺪﺓ ﻭﺳﺎﺋﻞ ﻣﺴﺘﻤﺪﺓ ﻣﻦ ﺍﳌﻨﻄﻖ ﺍﳊﺪﻳﺚ‬
‫) ‪(3‬‬
‫ﻭﻋﻠﻢ ﺍﻟﺪﻻﻟﺔ ‪"...‬‬
‫ﺇﺫﻥ ﻓﺪﺭﺍﺳﺎﺕ ﺍﻟﻨﺺ ﺍﳊﻜﺎﺋﻲ ﻭﺍﻟﺴﺮﺩﻱ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ‪ ،‬ﻗﺪ ﺳﺎﺭﺕ ﺃﺷﻮﺍﻃﺎ ﰒ ﺭﺳﺖ ﻋﻨﺪ‬
‫ﻣﺮﺣﻠﺔ ﻫﻲ ﺃﻛﺜﺮ ﺩﻗﺔ ﻭﺗﻌﻘﻴﺪﺍ‪ ،‬ﺑﻞ ﻭﲡﺮﻳﺪﺍ ﻋﻨﺪﻣﺎ ﺍﻗﺘﺮﻧﺖ ﺑﺎﻟﻌﻠﻮﻡ ﺍﻟﺘﺠﺮﻳﺒﻴﺔ ﻣﻦ ﻣﻨﻄﻖ ﻭﺭﻳﺎﺿﻴﺎﺕ‪،‬‬
‫ﻭﻏﲑﻫﺎ‪...‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﺒﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.27‬‬

‫)‪ (2‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪:‬ﺹ‪.29‬‬
‫)‪ (3‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﻣﻨﻄﻖ ﺍﻟﺴﺮﺩ‪،‬ﺹ‪.39‬‬
‫‪- 23 -‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ‪ ،‬ﻓﺈﻥ ﺑﺎﺏ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻨﻴﻮﻳﺔ ﻟﻠﻨﺺ ﺍﻟﻘﺼﺼﻲ ﻗﺪ ﻓﺘﺤﻪ ﻓﻼﺩﻣﲑ ﺑﺮﻭﺏ ﻷﻧﻪ‬
‫ﻭﺑﻮﺍﺳﻄﺔ ﻣﻨﻬﺠﻪ ﺍﳌﺮﻓﻮﻟﻮﺟﻲ ﺍﳌﺒﺘﻜﺮ‪ ،‬ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﺼﻞ ﺇﱃ ﻫﻴﻜﻞ ﺑﻨﺎﺋﻲ ﻟﻠﺤﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﺍﻷﻣﺮ‬
‫ﺍﻟﺬﻱ ﲰﺢ ﺑﺘﻄﺒﻴﻖ ﻫﺬﺍ ﺍﳌﻨﻬﺞ ﻭﺍﻹﻓﺎﺩﺓ ﻣﻨﻪ ﰲ ﺩﺭﺍﺳﺔ ﺍﻷﳕﺎﻁ ﺍﻟﻘﺼﺼﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻷﺧﺮﻯ‪ .‬ﻛﻤﺎ‬
‫ﻋﻜﺲ ﻟﻨﺎ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﻭﺍﳌﺘﻌﻠﻖ ﺑﺎﺧﺘﻼﻑ ﻭﺟﻬﺎﺕ ﻧﻈﺮ ﺍﻟﺒﺎﺣﺜﲔ‪ ،‬ﻣﺪﻯ ﺍﻫﺘﻤﺎﻡ ﻫﺆﻻﺀ ﲟﻨﻬﺞ‬
‫ﺑﺮﻭﺏ‪ ،‬ﻭﺍﻟﺪﻟﻴﻞ ﺃ‪‬ﻢ ﻭﺍﺻﻠﻮﺍ ﻣﻦ ﺑﻌﺪﻩ ﺍﻟﻄﺮﻳﻖ ﺍﻟﱵ ﺑﺪﺃﻫﺎ ﰲ ﲢﻠﻴﻞ ﺍﻟﺸﻜﻞ ﺍﻟﻘﺼﺼﻲ ﺭﻏﻢ‬
‫ﺍﺧﺘﻼﻓﻬﻢ ﺣﻮﻝ ﻣﺴﺎﺭ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﻭﺳﺎﺋﻠﻪ‪ ،‬ﺑﻞ ﻭﻣﻨﻄﻠﻘﺎﺗﻪ ﻭﺃﻫﺪﺍﻓﻪ ﺃﻳﻀﺎ‪.‬‬

‫راﺑﻌﺎ‪ -‬أﻧﻮاع اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ‪:‬‬

‫ﻫﻨﺎﻙ ﺃﻧﻮﺍﻉ ﻛﺜﲑﺓ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﰎ ﺗﺼﻨﻴﻔﻬﺎ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻧﺼﻮﺻﻬﺎ ﻭﺑﺎﻻﻋﺘﻤﺎﺩ‬
‫ﻋﻠﻰ ﻋﻨﺎﺻﺮ ﺩﺍﺧﻠﻴﺔ ﳐﺘﻠﻔﺔ‪ ،‬ﻛﺎﻷﺑﻄﺎﻝ ﻭﺍﳋﻮﺍﺭﻕ‪ ،‬ﻭﺍﳉﻦ ﻭﺍﳊﻴﻮﺍﻥ‪....‬ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﲝﺴﺐ ﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﺃﻳﻀﺎ ﺃﻭ ﻃﻮﳍﺎ ﺃﻭ ﺑﻨﺎﺋﻬﺎ ﺃﻭ ﻏﺎﻳﺘﻬﺎ ﻛﺎﳊﻜﺎﻳﺎﺕ ﺍﻟﺪﻳﻨﻴﺔ ﻭﺣﻜﺎﻳﺎﺕ ﺍﻻﻧﺘﻘﺎﺩ‬
‫ﺍﳉﻤﺎﻋﻲ‪ ،‬ﻭﺣﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ‪ ،‬ﻭﺣﻜﺎﻳﺎﺕ ﺍﻟﻔﻄﻨﺔ ﻭﺍﻻﻋﺘﺒﺎﺭ‪ ،‬ﻭﺣﻜﺎﻳﺎﺕ ﺍﻟﻔﻜﺎﻫﺔ ﻭﺍﻟﺘﻨﺪ‪‬ﺭ "ﻏﲑ ﺃﻥ‬
‫ﻫﺬﺍ ﺍﻟﺘﺼﻨﻴﻒ ﻏﲑ ﺛﺎﺑﺖ ﻻﺣﺘﻮﺍﺀ ﻧﺼﻮﺹ ﺍﳊﻜﺎﻳﺎﺕ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﳎﺘﻤﻌﺔ ﻧﺎﺟﺤﺔ ﰲ ﻛﺜﲑ‬
‫ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﺣﻴﺚ ﳒﺪ ﰲ ﺣﻜﺎﻳﺎﺕ ﺍﻟﺒﻄﻮﻟﺔ ﺃﻭ ﺍﻷﺑﻄﺎﻝ ﻋﻨﺎﺻﺮ ﺃﺧﺮﻯ ﻻ ﺗﻘﻞ ﻋﻨﻬﺎ ﺃﳘﻴﺔ‬
‫ﻛﺎﳊﻴﻮﺍﻥ‪ ،‬ﻭﺍﻟﱵ ﺗﻠﻌﺐ ﻧﻔﺲ ﺍﻟﺪﻭﺭ ﺍﻟﺬﻱ ﻳﻠﻌﺒﻪ ﺍﻟﺒﻄﻞ ﰲ ﻧﻔﺲ ﺍﻟﻔﻀﺎﺀ ﺍﻟﻨﺼ‪‬ﻲ ﺍﻟﻮﺍﺣﺪ‪ ،‬ﻭﺍﻟﺴﺆﺍﻝ‬
‫ﺍﳌﻄﺮﻭﺡ‪ ،‬ﻫﻞ ﻧﺼﻨ‪‬ﻒ ﻫﺬﺍ ﺍﻟﻨﺺ ﰲ ﻣﺼﺎﻑ ﺣﻜﺎﻳﺎﺕ ﺍﻟﺒﻄﻮﻟﺔ ﺃﻡ ﻧﺼﻨﻔﻪ ﰲ ﻣﺼﺎﻑ ﺍﳊﻜﺎﻳﺎﺕ‬
‫) ‪(1‬‬
‫ﺍﳊﻴﻮﺍﻧﻴﺔ ؟"‪.‬‬
‫ﻳﺒﻘﻰ ﻫﺬﺍ ﺍﻹﺷﻜﺎﻝ ﻣﻄﺮﻭﺣ‪‬ﺎ ﻣﺎﺩﺍﻡ ﺃﻧﻪ ﻻ ﻳﻮﺟﺪ ﻧﺺ ﺧﺎﻟﺺ ﺃﻱ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﻋﻨﺼﺮ‬
‫ﻭﺍﺣﺪ‪ ،‬ﻭﻣﺎﺩﺍﻣﺖ ﻋﻨﺎﺻﺮ ﺍﻟﺒﺎﺣﺜﲔ ﻭﺗﺮﻛﻴﺰﻫﻢ ﻭﺗﻌﺎﻃﻔﻬﻢ ﻣﻊ ﻋﻨﺎﺻﺮ ﻏﲑ ﺛﺎﺑﺘﺔ ﻭﻏﲑ ﺧﺎﺿﻌﺔ‬
‫ﳌﻘﻴﺎﺱ ﻋﻠﻤﻲ ﻣﻮﺿﻮﻋﻲ ﺃﻣﺎﻡ ﻧﻔﺲ ﺍﻟﻨ‪‬ﺺ ‪.‬‬
‫ﺇﻥﹼ ﻫﺬﺍ ﺍﻻﺧﺘﻼﻑ ﺣﻮﻝ ﺃﻧﻮﺍﻉ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻧﺘﻴﺠﺔ ﺍﻟﺘ‪‬ﺪﺍﺧﻞ ﺑﲔ ﻋﻨﺎﺻﺮﻫﺎ ﺟﻌﻞ‬
‫ﺍﻟﻜﺘ‪‬ﺎﺏ ﻭﺍﻟﺒﺎﺣﺜﲔ ﰲ ﻫﺬﺍ ﺍﻻﺧﺘﺼﺎﺹ ﻳﺘﺠﻬﻮﻥ ﺇﱃ ﻭﺿﻊ ﺃﻧﻮﺍﻉ ﳍﺎ‪ ،‬ﻛﻞﱞ ﺣﺴﺐ ﺭﺃﻳﻪ ﻭﺍﻫﺘﻤﺎﻣﻪ‬
‫ﺑﻌﻨﺎﺻﺮ ﺍﻟﻨﺺ‪ ،‬ﻭﻣﻨﻬﻢ ﺭﺍﺑﺢ ﺍﻟﻌﻮﰊ)‪ (2‬ﺍﻟﺬﻱ ﻳﺬﻫﺐ ﺇﱃ ﺣﺼﺮ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﻷﺷﻜﺎﻝ‬
‫ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫)‪(1‬‬
‫ﳏﻤﺪ ﺳﻌﻴﺪﻱ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﺹ‪.63 ،62‬‬
‫)‪(2‬‬
‫ﺭﺍﺑﺢ ﺍﻟﻌﻮﰊ‪ :‬ﺃﻧﻮﺍﻉ ﺍﻟﻨﺜﺮ ﺍﻟﺸﻌﱯ‪ ،‬ﺹ‪.40‬‬
‫‪- 24 -‬‬
 ‫‪ -1‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﻐﺮﻳﺒﺔ ﺍﳌﺜﲑﺓ ﻟﻠﺨﻴﺎﻝ‪.‬‬
‫‪ -2‬ﺍﳊﻜﺎﻳﺔ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﳌﻌﻨﻴ‪‬ﺔ ﺑﺎﳉﻨﻴﺎﺕ ﻭﻫﻲ ﻣﻮﺟﻬﺔ ﻋﺎﺩﺓ ﻟﻠﺼﻐﺎﺭ ﻭﻟﻠﻄﺒﻘﺔ ﺍﻟﺸﻌﺒﻴﺔ‪..‬‬
‫‪ -3‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﻮﺍﻗﻌﻴﺔ‪.‬‬
‫‪ -4‬ﺍﳊﻜﺎﻳﺔ ﺍﳌﺎﺟﻨﺔ ﺍﻟﱵ ﺗﻜﺸﻒ ﻋﻦ ﺍﻟﻌﻼﺋﻖ ﺍﳊﻤﻴﻤﻴﺔ ﺑﲔ ﺍﳉﻨﺴﲔ‪.‬‬
‫‪ -5‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﻜﻠﻴﺔ‪.‬‬
‫‪ -6‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﻐﻨﺎﺋﻴﺔ‪.‬‬
‫‪ -7‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﻔﺨﺮﻳﺔ‪.‬‬
‫‪ -8‬ﺍﳊﻜﺎﻳﺔ ﺍﳍﺠﺎﺋﻴﺔ‪.‬‬
‫ﺻﺤﻴﺢ ﺃﻥﹼ ﻫﺬﻩ ﺍﻷﻧﻮﺍﻉ ﺣﺎﻭﻝ ﺻﺎﺣﺒﻬﺎ ﻣﻦ ﺧﻼﳍﺎ ﺿﺒﻂ ﺃﺻﻨﺎﻑ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻟﻜﻦ ﻻ‬
‫ﳝﻜﻨﻨﺎ ﺃﻥ ﳓﺼﺮ ﻛﻞ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻫﺬﻩ ﺍﻷﻧﻮﺍﻉ‪.‬ﻷﻥ ﺑﻌﻀﻬﺎ ﻳﺘﺪﺍﺧﻞ ﰲ ﺑﻌﺾ ﻭﺍﻟﻜﺜﲑ‬
‫) ‪(1‬‬
‫ﻣﻨﻬﺎ ﳝﻜﻦ ﺗﺼﻨﻴﻔﻬﺎ ﰲ ﺃﻛﺜﺮ ﻣﻦ ﻧﻮﻉ‪ "،‬ﻭﻟﺬﻟﻚ ﻳﺒﺪﻭ ﺍﻟﺘﺼﻨﻴﻒ ﺃﻣﺮ‪‬ﺍ ﻻ ﳜﻠﻮ ﻣﻦ ﺗﻌﺴﻒ"‬
‫ﺇ ﹼﻥ ﻧﺺ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻳﺘﻘﺎﻃﻊ ﻣﻊ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﺍﻟﺸﻌﱯ ﺍﻵﺧﺮ ﻛﺎﻟﻠﻐﺰ‪ ،‬ﻭﺍﳌﺜﻞ ﻭﺍﻟﻨﻜﺘﺔ‬
‫ﻭﺍﻟﺸﻌﺮ‪.‬‬
‫ﻭﻗﺪ ﺃﺳﻔﺮ ﻫﺬﺍ ﺍﻟﺘﻘﺎﻃﻊ ﻋﻠﻰ ﻇﻬﻮﺭ ﻧﺼﻮﺹ ﳐﺘﻠﻔﺔ ﺍﻣﺘﺪ‪‬ﺕ ﻣﻌﻄﻴﺎ‪‬ﺎ ﺍﻟﺸﻜﻠﻴﺔ ﻭﺍﻟﺪﻻﻟﻴﺔ ﻣﻦ‬
‫ﻫﺬﺍ ﺍﻟﺘﻨﺎﺹ ﺍﳉﻨﺴﻲ‪ ،‬ﻓﻈﻬﺮﺕ ﻧﺼﻮﺹ ﺣﻜﺎﺋﻴﺔ ﻣﺜﻠﻴﺔ‪ ،‬ﻭﻧﺼﻮﺹ ﺣﻜﺎﺋﻴﺔ ﺷﻌﺮﻳﺔ ﻭﻧﺼﻮﺹ ﺣﻜﺎﺋﻴﺔ‬
‫ﻟﻐﺰﻳﺔ‪ ،‬ﻭﻧﺼﻮﺹ ﺣﻜﺎﺋﻴﺔ ﻧﻜﺘﻴﺔ‪.‬‬
‫ﻭﻫﺬﺍ ﺗﻔﺼﻴﻞ ﻟﻜﻞ ﻧﻮﻉ ﻋﻠﻰ ﺣﺪﻯ ‪:‬‬
‫‪ -1‬ﺍﳊﻜﺎﻳـﺔ ﺍﳌﺜﻠﻴـﺔ ‪:‬‬
‫ﺇﻥﹼ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﳝﺘﺎﺯ ﺑﺎﻧﺘﻬﺎﺀ ﻧﺼﻮﺻﻪ ﲟﺜﻞ ﺃﻭ ﻋﱪﺓ ﺃﺳﺎﺳﻴﺔ ﺃﺭﺍﺩ‬
‫ﺍﻹﺑﺪﺍﻉ ﺍﻟﺸﻌﱯ ﻧﺸﺮﻫﺎ ﺑﲔ ﺍﻟﻨﺎﺱ‪ ،‬ﻭﺫﻟﻚ ﺑﺘ‪‬ﺴ‪‬ﺨﲑﻩ ﻟﺬﻟﻚ ﻓﻀﺎﺀ ﻗﺼﺼﻴﺎ ﻭﺍﺳﻌ‪‬ﺎ ﺑﻌﻨﺎﺻﺮﻩ ﺍﳌﺨﺘﻠﻔﺔ‬
‫ﻣﻦ ﺃﺣﺪﺍﺙ ﻭﺷﺨﺼﻴﺎﺕ‪ ،‬ﻓﺄﻣﻜﻨﺔ ﻣﺘﻌﺪﺩﺓ ﻭﺃﺯﻣﻨﺔ ﻃﻮﻳﻠﺔ ﻣﻦ ﺃﺟﻞ ﻗﻮﻝ ﺷﻲﺀ ﻣﺄﺛﻮﺭ‪.‬‬

‫)‪(1‬‬
‫ﺃﲪﺪ ﺯﻳﺎﺩ ﳏﺒﻚ‪ :‬ﳎﻠﺔ ﺍﻟﺜﻘﺎﻓﺔ ‪،‬ﺣﻠﺐ‪ ،‬ﺍﻟﻌﺪﺩ‪ ،93‬ﻳﻮﻧﻴﻮ ‪1984‬ﻡ‪،‬ﺹ‪.172‬‬
‫‪- 25 -‬‬
‫ﳍﺬﺍ ﳒﺪ ﺃﻥﹼ ﺍﻟﻠﺒﻨﺔ ﺍﻷﺳﺎﺳﻴﺔ ﳍﺬﻩ ﺍﻟﻨﺼﻮﺹ ﻫﻲ ﺍﺣﺘﻮﺍﺋﻬﺎ ﻋﻠﻰ ﻣﻌﲎ ﺷﻌﱯ ﺧﺎﻟﺪ ﻭﻋﻠﻰ‬
‫ﺗﺼﻮﻳﺮ ﲡﺮﺑﺔ ﺷﻌﺒﻴﺔ ﻓﺮﻳﺪﺓ ﻭﻋﻠﻰ ﻗﻴﻤﺔ ﺷﻌﺒﻴﺔ ﺳﺎﻣﻴﺔ ﻭﻧﺒﻴﻠﺔ‪ ،‬ﻟﺬﻟﻚ ﻋﻤﺪﺕ ﺍﻟﻔﻄﻨﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ‬
‫ﲣﻠﻴﺪﻫﺎ ﻭﺍﻹﺷﺎﺩﺓ ‪‬ﺎ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﺩﻋﻮﺓ ﺍﻟﻨﺎﺱ ﺇﱃ ﳑﺎﺭﺳﺔ ﻫﺬﺍ ﺍﻟﻔﻌﻞ ﺍﳊﺴﻦ ﻭﺍﻻﻗﺘﺪﺍﺀ ﺑﺎﻟﺒﻄﻞ‪ ،‬ﺃﻭ‬
‫ﺗﻔﺎﺩﻱ ﺍﻟﺴﻠﻮﻙ ﺍﻟﺴﻴﺊ ﺍﻟﺬﻱ ﺭﻓﻀﻪ ﺍﻟﺒﻄﻞ‪ " .‬ﻓﻨﺺ ﺍﳌﺜﻞ ﺍﻟﺬﻱ ﺗﻨﺘﻬﻲ ﺑﻪ ﺍﳊﻜﺎﻳﺔ ﺃﻭ ﺍﻟﺬﻱ ﲢﻤﻠﻪ‬
‫ﺑﲔ ﻃﻴﺎ‪‬ﺎ‪ ،‬ﻫﻮ ﰲ ﺣﺪ ﺫﺍﺗﻪ ﺣﻜﺎﻳﺔ ﺻﻐﲑﺓ ﺍﳊﺠﻢ ﺗﻮﺍﺯﻱ ﻧﺺ ﺍﳊﻜﺎﻳﺔ ﺍﻟﻜﺒﲑﺓ‪ ،‬ﻭﺍﳌﺜﻞ ﻣﺎ ﻫﻮ ﺇﻻ‬
‫) ‪(1‬‬
‫ﻣﻠﺨﺺ ﳊﻜﺎﻳﺔ ﺃﻭ ﺃﺣﺪﻭﺛﺔ ﻛﺎﻧﺖ ﻗﺪ ﻭﻗﻌﺖ "‪.‬‬
‫ﻓﺎﳊﻜﺎﻳﺔ ﺍﳌﺜﻠﻴﺔ ﺇﺫﻥ ﺗﻠﻌﺐ ﺩﻭﺭ‪‬ﺍ ﻭﻋﻈﻴﺎ ﺇﺭﺷﺎﺩﻳﺎ ﻫﺎﻣ‪‬ﺎ ﻣﻦ ﺧﻼﻝ ﺍﻷﻣﺜﺎﻝ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﲢﻤﻠﻬﺎ‬
‫ﺑﲔ ﻃﻴﺎ‪‬ﺎ ﻓﻬﺬﺍ ﺇﻥ ﺩﻝﹼ ﻋﻠﻰ ﺷﻲﺀ ﻓﺈﳕﺎ ﻳﺪﻝ ﻋﻠﻰ ﺧﺼﺐ ﺍﳋﻴﺎﻝ ﺍﻟﺸﻌﱯ ﻭﺟﻮﺩﺗﻪ ﻳﻀﺎﻑ ﺇﻟﻴﻪ‬
‫ﺃﳘﻴﺔ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱵ ﻳﺆﺩﻳﻬﺎ ﻫﺬﺍ ﺍﻟﻔﻦ ﺍﻟﻨﺒﻴﻞ‪.‬‬
‫‪ -2‬ﺍﳊﻜﺎﻳـﺔ ﺍﻟﺸﻌﺮﻳـﺔ ‪:‬‬
‫ﺇﻥﹼ ﻧﺼﻮﺹ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺮﻳﺔ ﺗﺘﻤﻴﺰ ﲟﻴﺰﺗﲔ ﺍﺛﻨﺘﲔ‪ ،‬ﺇﻣ‪‬ﺎ ﺃﻥ ﻳﻜﻮﻥ ﻛﻞﹼ ﻧﺺ ﺍﳊﻜﺎﻳﺔ ﺷﻌﺮ‪‬ﺍ‪،‬‬
‫ﺃﻭ ﺃﻥ ﻳﺘﺨﻠﻞ ﺍﻟﻨﺺ ﺑﻌﺾ ﺍﳌﻘﺎﻃﻊ ﺍﻟﺸﻌﺮﻳﺔ ﺍﻟﱵ ﺗﺆﺩﻱ ﻧﻔﺲ ﺍﻟﻐﺮﺽ‪ ،‬ﻭﻫﻜﺬﺍ ﻳﺜﺮﻱ ﺍﻟﻨﺺ ﻭﻳﻀﻔﻲ‬
‫ﻋﻠﻴﻪ ﻃﺎﺑﻌﺎ ﻣﻮﺳﻴﻘﻴﺎ ﺇﻳﻘﺎﻋﻴﺎ ﺧﺎﺻ‪‬ﺎ ‪.‬‬
‫"ﻭﻗﺪ ﻳﻜﺜﺮ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻨﺼﻮﺹ ﺍﳊﻜﺎﺋﻴﺔ ﺍﻟﺸﻌﺮﻳﺔ ﻋﻠﻰ ﻳﺪ ﺍﻟﺮ‪‬ﻭﺍﺓ ﺍﳌﻐﺮﻣﲔ ﺑﺎﻟﻐﺰﻝ‬
‫ﻭﻭﺻﻒ ﺍﻟﻔﺮﺱ‪ ،‬ﻛﻤﺎ ﺗﻜﺜﺮ ﻫﺬﻩ ﺍﻟﻨﺼﻮﺹ ﰲ ﺍﳌﻮﺍﺿﻊ ﺍﻟﺪﻳﻨﻴﺔ ﻭﺍﻟﻮﻋﻈﻴﺔ ﻭﺭﻭﺍﻳﺔ ﺍﻟﺴﲑ ﻭﺍﳌﻐﺎﺯﻱ‬
‫ﻭﺍﻟﺒﻄﻮﻻﺕ ﺍﻟﺪﻳﻨﻴﺔ ﺷﻌﺮ‪‬ﺍ‪ ،‬ﻭﺫﻟﻚ ﺣﱴ‪ ‬ﻳﺴﻬﻞ ﺣﻔﻈﻬﺎ‪ ،‬ﻭﺍﶈﺎﻓﻈﺔ ﻋﻠﻴﻬﺎ ﻣﻦ ﺟﻬﺔ ﻭﻣﻦ ﺟﻬﺔ ﺃﺧ‪‬ﺮﻯ‬
‫) ‪(2‬‬
‫ﻟﻘﻮﺓ ﺗﺄﺛﲑﻫﺎ ﻋﻠﻰ ﺍﻟﻨﻔﻮﺱ"‬
‫ﺇﻥﹼ ﻫﺬﺍ ﺍﻟﻠﻮﻥ ﻣﻦ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ‪ ،‬ﻷﻥ ﺇﻧﺴﺎﻧﻪ‪ ،‬ﺃﻭ ﺭﺍﻭﻳﻪ ﺍﻟﺸﻌﱯ ﺍﺳﺘﻄﺎﻉ ﺃﻥ‬
‫ﳚﻤﻊ ﻓﻴﻪ ﺑﲔ ﲨﺎﻟﲔ‪ ،‬ﲨﺎﻝ ﺍﻟﻨﺜﺮ ﻭﲨﺎﻝ ﺍﻟﺸﻌﺮ‪ ،‬ﺍﻟﻠﺬﺍﻥ ﺷﻜﻼ ﻣﻌ‪‬ﺎ ﺇﺑﺪﺍﻋ‪‬ﺎ ﻓﺮﻳﺪ‪‬ﺍ ﻇﻞ ﳏﻔﻮﺭ‪‬ﺍ ﰲ‬
‫ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺸﻌﺒﻴﺔ ﻻﻋﺘﻤﺎﺩﻩ ﻋﻠﻰ ﻟﻐﺔ ﺑﺴﻴﻄﺔ ﻳﺘﺪﺍﻭﳍﺎ ﺍﻟﻜﺒﺎﺭ ﻭﺍﻟﺼﻐﺎﺭ‪.‬‬
‫‪ -3‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﻠﻐﺰﻳﺔ ‪:‬‬
‫ﻫﻲ ﺣﻜﺎﻳﺔ ﺗﻘﻮﻡ ﻣﻀﺎﻣﲔ ﻧﺼﻮﺻﻬﺎ ﻋﻠﻰ ﻗﺎﻋﺪﺓ ﻟﻐﺰﻳﺔ ﺗﺴﺎﺅﻟﻴﺔ ﺗﺒﺘﺪﺉ ﺑﻄﺮﺡ ﻟﻐﺰ ﻋﻠﻰ‬
‫ﺍﻟﺒﻄﻞ ﻭﻳﻄﻠﺐ ﻣﻨﻪ ﺍﻟﺒﺤﺚ ﻋﻠﻰ ﺍﳊﻞ ﻭﺍﳉﻮﺍﺏ ﺍﻟﺼﺤﻴﺢ‪.‬‬
‫)‪(1‬‬
‫ﳏﻤﺪ ﺳﻌﻴﺪﻱ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪،‬ﺹ‪.64‬‬
‫)‪(2‬‬
‫ﳏﻤﺪ ﺳﻌﻴﺪﻱ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.66‬‬
‫‪- 26 -‬‬
‫ﻓﻬﺬﺍ ﺍﻟﻄﺮﺡ ﺍﻟﺘ‪‬ﺴﺎﺅﱄ ﻳﻌﺘﱪ ﺍﻟﻨﻮﺍﺓ ﺍﻷﺳﺎﺳﻴﺔ ﻭﻧﻘﻄﺔ ﺍﻟﻮﻻﺩﺓ ﻟﻌﺎﱂ ﺍﳊﻜﺎﻳﺔ ﺑﺄﺣﺪﺍﺛﻪ ﻭﺷﺨﺼﻴﺎﺗﻪ‬
‫ﻭﺟﻐﺮﺍﻓﻴﺘﻪ ﺍﳌﻜﺎﻧﻴﺔ ﻭﺍﻟﺰﻣﺎﻧﻴﺔ‪ ،‬ﻭﻛﻤﺜﺎﻝ ﻋﻠﻰ ﺫﻟﻚ‪:‬‬
‫ﺃﻥ ﻳ‪‬ﺸﻴﻊ ﺍﻟﺴﻠﻄﺎﻥ ﻟﻐﺰﺍ ﰲ ﺃﻭﺳﺎﻁ ﺍﻟﺸﻌﺐ ﻭﻳﻌﺪ ﲟﻜﺎﻓﺄﺓ ﲦﻴﻨﺔ ﳌﻦ ﻳﺴﻌﻔﻪ ﺍﳊﻆ ﻭﺍﻟﻘﺪﺭﺓ ﻟﻠﻮﺻﻮﻝ‬
‫ﻭﺇﳚﺎﺩ ﺍﳊﻞ ﺍﳌﻨﺎﺳﺐ‪ ،‬ﻣﻊ ﺍﻟﻌﻠﻢ ﺃﻥ ﻋﻤﻠﻴﺔ ﺍﻟﺒﺤﺚ ﻋﻦ ﺣﻞ ﺍﻟﻠﻐﺰ ﺗﺘﻄﻠﺐ ﺇﻣﻜﺎﻧﻴﺎﺕ ﻣﺎ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ‬
‫ﻳﺪﻓﻊ ﺍﻟﺒﻄﻞ ﻟﻠﺨﺮﻭﺝ ﻣﺘﻨﻘﻼ ﻣﻦ ﺑﻠﺪﻩ‪ ،‬ﻭﻣﻮﺍﺟﻬﺔ ﺃﺣﺪﺍﺙ ﺻﻌﺒﺔ ﻭﻟﻘﺎﺀ ﺷﺨﺼﻴﺎﺕ ﺷﺮﻳﺮﺓ ﺗﻌﺮﻗﻞ‬
‫ﻣﺴﲑﺗﻪ ﻭﺗﻌﺎﻛﺴﻪ ﰲ ﲢﻘﻴﻖ ﺭﻏﺒﺘﻪ‪.‬‬
‫ﻓﻴﺘﺼﺎﺭﻉ ﻣﻌﻬﺎ ﻭﻳﻮﺍﺻﻞ ﻃﺮﻳﻘﻪ ﺣﱴ ﻳﺼﻞ ﺇﱃ ﳑﻠﻜﺔ ﳎﻬﻮﻟﺔ ﺃﻳﻦ ﻳﻠﺘﻘﻲ ﺑﺸﻴﺦ ﺃﻭ ﻋﺠﻮﺯ ﺃﻭ ﺣﻴﻮﺍﻥ‬
‫ﻳﻬﺒﻪ ﺍﳊﻞ‪ ،‬ﻭﻳﻌﻮﺩ ﺇﱃ ﺍﻟﺴﻠﻄﺎﻥ‪ ،‬ﻓﻴﻜﺎﻓﺌﻪ ﻫﺬﺍ ﺍﻷﺧﲑ‪.‬‬
‫ﻭﺍﳌﻜﺎﻓﺄﺓ ﺗﺘﻤﺜﻞ ﰲ ﻛﺮﺳﻲ ﺍﻟﺴﻠﻄﺔ ﺃﻭ ﺍﻟﺰﻭﺍﺝ ﺑﺎﺑﻨﺔ ﺍﻟﺴﻠﻄﺎﻥ ﺃﻭ ﻛﻤﻴﺔ ﻣﻦ ﺍﳌﺎﻝ ﻭﺍﻟﺬﻫﺐ‪...‬‬
‫ﺇﻥﹼ ﺍﻟﻨﻮﺍﺓ ﺍﻟﻔﻌﺎﻟﺔ ﻭﺍﶈﺮ‪‬ﻙ ﺍﻷﺳﺎﺳﻲ ﳍﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ ﻫﻮ ﻧﺺ ﺳﺆﺍﻝ ﺍﻟﻠﻐﺰ ﰒﹼ ﺍﻟﺒﺤﺚ ﻋﻦ‬
‫ﺟﻮﺍﺏ ﻫﺬﺍ ﺍﻟﺸﻲﺀ ﺍﻟﺬﻱ ﺣﻴ‪‬ﺮ ﺍﻟﺴﻠﻄﺎﻥ ﺃﻭ ﺍﻷﺏ ﺃﻭ ﻏﲑﳘﺎ‪.‬‬
‫"ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﻠﻐﺰﻳﺔ ﻳﻘﻮﻡ ﻧﺼﻬﺎ ﻋﻠﻰ ﻟﻐﺰ ﻭﺑﲔ ﻃﺮﺡ ﺍﻟﻠﻐﺰ ﻭﺟﻮﺍﺑﻪ ﻳﻘﻊ ﻋﻠﻰ ﻧﺺ ﺍﳊﻜﺎﻳﺔ‬
‫) ‪(1‬‬
‫ﺑﺄﺑﻌﺎﺩﻩ ﻭﺩﻻﻟﺘﻪ ﺍﳌﺨﺘﻠﻔﺔ"‬
‫ﻓﻬﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻓﻴﻪ ﺷﻲﺀ ﻣﻦ ﺍﻟﺘﺸﻮﻳﻖ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﳚﻌﻞ ﺍﳌﺴﺘﻤﻊ ﺇﻟﻴﻬﺎ‬
‫ﻣﺘﻠﻬﻔﺎ ﳌﻌﺮﻓﺔ ﺍﳊﻞ‪ ،‬ﻓﻼ ﲡﺪﻩ ﻳﻔﻮ‪‬ﺕ ﻭﻻ ﺣﺪﺛﺎ ﻣﻦ ﺃﺣﺪﺍﺛﻬﺎ ﻷﻥﹼ ﻗﻠﺒﻪ ﻭﻋﻘﻠﻪ ﺍﺭﺗﺒﻄﺎ ﺑﺎﻟﻘﺎﺹ ﺍﻟﺬﻱ‬
‫ﺍﺳﺘﻄﺎﻉ ﻭﻣﻦ ﺧﻼﻝ ﺍﺣﺘﺮﺍﻓﻴﺘﻪ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﺃﻥ ﻳﺘﺤﻜﻢ ﰲ ﺃﺫﻫﺎﻥ ﻣﺴﺘﻤﻌﻴﻪ‪ ،‬ﻭﻳﻌﻤﻞ ﻋﻠﻰ‬
‫ﺗﻨﺸﻴﻄﻬﺎ ﺑﻞ ﻭﺗﺜﻘﻴﻔﻬﺎ ﺃﻳﻀﺎ‪.‬‬
‫‪ -4‬ﺍﳊﻜﺎﻳـﺔ ﺍﻟﻨﻜﺘﻴـﺔ ‪:‬‬
‫ﻫﻲ ﺣﻜﺎﻳﺔ ﺃﻭ ﺃﺣﺪﻭﺛﺔ ﻗﺼﲑﺓ ﺃﻭ ﻃﻮﻳﻠﺔ ﲢﻜﻲ ﻧﺎﺩﺭﺓ ﺃﻭ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻨﻮﺍﺩﺭ ﺍﳌﺴﻠﹼﻴﺔ‬
‫ﻭﺍﳌﻨﺴﺠﻤﺔ‪ ،‬ﻭﺗﺆﺩﻱ ﺇﱃ ﻣﻮﻗﻒ ﻓﻜﺎﻫﻲ ﻣﺮﺡ‪ ،‬ﻓﻬﻲ ﺗﺴﺘﻘﻲ ﻣﺎﺩ‪‬ﺎ ﺍﳋﺎﻡ‪ ،‬ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻠﻤﻮﺱ‪،‬‬
‫ﻭﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻨﺤﺼﺮ ﰲ ﺗﺼﻮﻳﺮ ﻧﺸﺎﻁ ﺍﻟﻨﺎﺱ ﺍﻟﻴﻮﻣﻲ‪.‬‬

‫)‪(1‬‬
‫ﳏﻤﺪ ﺳﻌﻴﺪﻱ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪.63‬‬
‫‪- 27 -‬‬
‫ﺇﻥﹼ ﺃﻫﻢ ﻣﺎ ﳝﻴ‪‬ﺰ ﻧﺼﻮﺹ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻔﻜﺎﻫﻴﺔ ﻭﺍﳌﺮﺣﺔ ﻫﻮ ﺍﻟﻄﺎﺑﻊ ﺍﳊﻘﻴﻘﻲ ﻭﺍﻟﺴﺮﻳﻊ‬
‫ﻭﺍﻟﻘﺼﲑ ﰲ ﺍﳊﻜﻲ‪ ،‬ﻛﻤﺎ ﻳﻐﻠﺐ ﻋﻠﻴﻬﺎ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻔﻜﺎﻫﻲ ﻭﺍﳌﻀﺤﻚ ﺍﻟﻨﺎﺗﺞ ﻣﻦ ﻓﻌﺎﻟﻴﺔ ﺍﻟﻨﻜﺘﺔ‬
‫ﺍﳌﻠﺘﺼﻘﺔ ﺍﻟﺘﺼﺎﻗﺎ ﻋﻀﻮﻳﺎ ﺑﺒﻌﺾ ﺳﻠﻮﻛﺎﺕ ﺍﻟﻨﺎﺱ ﻏﲑ ﺍﻟﻌﺎﺩﻳﺔ ﻭﺗﺼﺮﻓﺎ‪‬ﻢ ﺍﳍﺰﻟﻴﺔ‪.‬‬
‫" ﻓﺎﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﺮﺣﺔ ﻛﺜﲑ‪‬ﺍ ﻣﺎ ﺗﻮﺻﻒ ﺑﺎﻟﻜﺬﺏ ﻭﺍﳊﻴﻠﺔ ﻭﺍﳉﻨﻮﻥ ﻭﺍﳊﻤﺎﻗﺔ ﻭﺍﻟﻐﺒﺎﺀ ﻭﺍﻟﺒﻼﺩﺓ‬
‫ﻭﺍﻟﺴﺬﺍﺟﺔ ﻭﺍﻟﺒﻼﻫﺔ‪ ،‬ﺻﻔﺎﺕ ﺗﻀﻔﻲ ﻋﻠﻰ ﻧﺺ ﺍﳊﻜﺎﻳﺔ ﻃﺎﺑﻌ‪‬ﺎ ﻓﻜﺎﻫﻴﺎ ﻭﲢﺎﻓﻆ ﻋﻠﻰ ﺣﻴﻮﻳﺘﻪ ﺍﻟﻨﻔﺴﻴﺔ‬
‫) ‪(1‬‬
‫ﻭﺃﺑﻌﺎﺩﻩ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﻨﻘﺪﻳﺔ "‪.‬‬
‫ﻓﺎﻟﻨﻜﺘﺔ ﻛﺠﻨﺲ ﺃﺩﰊ ﺷﻌﱯ ﺗﺘﻘﺎﻃﻊ ﻣﻊ ﻧﺺ ﺍﳊﻜﺎﻳﺔ ﻭﺗﺘﻔﺎﻋﻞ ﻣﻌﻪ ﺑﻞ ﺗﺘﺤﺮ‪‬ﻙ ﲝﺮ‪‬ﻳﺔ ﻣﻄﻠﻘﺔ‬
‫ﰲ ﻓﻀﺎﺀ ﺍﻟﻨﺺ‪ ،‬ﺣﻴﺚ ﺗﺘﻌﺎﻗﺐ ﻋﻠﻰ ﺭﻭﺍﻳﺘﻬﺎ ﺷﺨﺼﻴﺎﺕ ﳐﺘﻠﻔﺔ ﰲ ﻣﻮﺍﻗﻒ ﳐﺘﻠﻔﺔ ﻭ‪‬ﺬﺍ ﻳﺘﺤﻮ‪‬ﻝ‬
‫ﺍﻟﻨﺺ ﺇﱃ ﻧﻜﺘﺔ ﻣﻜﺒ‪‬ﺮﺓ ‪.‬‬
‫ﺑﻞ ﻭﺗﺼﺒﺢ ﺍﻟﻨﻜﺘﺔ ﺣﻜﺎﻳﺔ ﺷﻌﺒﻴﺔ ﻣﺼﻐﺮﺓ‪،‬ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﻨﻜﺘﺔ ﻫﻲ "ﺗﻠﻚ ﺍﻷﺣﺪﻭﺛﺔ ﺍﻟﻘﺼﲑﺓ ﺍﻟﱵ‬
‫ﲢﻜﻲ ﻧﺎﺩﺭﺓ ﺃﻭ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻟﻨﻮﺍﺩﺭ ﻭﺗﻨﺘﻬﻲ ﺇﱃ ﻣﻮﻗﻒ ﻓﻜﺎﻫﻲ ﻣﺮﺡ ﻭﻗﺪ ﲣﺘﻠﻒ ﺃﺷﺪ‪ ‬ﺍﻻﺧﺘﻼﻑ‬
‫ﺑﺎﻟﻨﺎﺩﺭﺓ ﺃﻭ ﺍﻟﻔﻜﺎﻫﺔ‪ ،‬ﻓﻬﻲ ﺗﺴﺮﻱ ﰲ ﻗﺮ‪‬ﺍﺋﻬﺎ ﻭﻣﺴﺘﻤﻌﻴﻬﺎ ﻭﺗﺮﻳﺪ ﺃﻥ ﺗﺸﺪ‪ ‬ﻓﻴﻬﻢ ﺭﻭﺡ ﺍﳌﺮﺡ‪ ،‬ﺇﻧ‪‬ﺎ‬
‫ﻧﺴﺘﺸﻒ ﻭﺭﺍﺀ ﺍﳌﺮﺡ ﰲ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ ﺭﻏﺒﺔ ﻭﺍﺿﺤﺔ ﰲ ﲢﻘﻴﻖ ﻣﻘﻮﻟﺔ ﺃﻭ ﺃﺩﺍﺀ ﻧﻘﺪ ﻻﺫﻉ ﺃﻭ‬
‫) ‪(2‬‬
‫ﺑﺄﻧﺎﺱ" ‪.‬‬ ‫ﺍﻟﺘﻨﺪﻳﺪ ﺑﻈﺎﻫﺮﺓ ﺍﻟﺒﺨﻞ ﺃﻭ ﺍﻟﺘﻬﻜﻢ ﺃﻭ ﺍﻟﺴﺨﺮﻳﺔ‬
‫ﻓﻬﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻳﺸﺒﻪ ﻣﺎ ﻳﺴﻤ‪‬ﻰ ﰲ ﺍﻷﺩﺏ ﺍﻟﺮﲰﻲ ﺑﺎﳌﻘﺎﻣﺎﺕ ﺣﻴﺚ‬
‫ﻳﺘﺸﺎﺭﻛﺎﻥ ﻣﻌ‪‬ﺎ‪ ،‬ﰲ ﺍﻟﻄﺎﺑﻊ ﺍﳍﺰﱄ ﺍﻟﻔﻜﺎﻫﻲ ﺍﳌﻀﺤﻚ‪ ،‬ﻛﻤﺎ ﺃﻥﹼ ﻣﺴﻌﺎﳘﺎ ﻭﺍﺣﺪ‪ ‬ﻭﻫﻮ ﻧﻘﺪ ﺍ‪‬ﺘﻤﻊ‬
‫ﺑﺎﻟﺘ‪‬ﻄﺮﻕ ﺇﱃ ﻣﺴﺎﻭﺋﻪ ﻭﳏﺎﻭﻟﺔ ﺇﺻﻼﺣﻬﺎ‪ ،‬ﻣﻦ ﲨﻴﻊ ﺟﻮﺍﻧﺒﻬﺎ‪.‬‬
‫ﻛﻤﺎ ﺃﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﻨﻜﺘﻴﺔ ﺍﳌﺮﺣﺔ‪ ،‬ﺗﻠﻌﺐ ﺩﻭﺭ‪‬ﺍ ﻧﻔﺴﺎﻧﻴﺎ ﻣﻬﻤ‪‬ﺎ‪ ،‬ﻳﻬﺪﻑ ﺇﱃ ﺍﻟﺘﺮﻭﻳﺢ ﻋﻦ ﺍﳉﻤﺎﻋﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﻟﺘﻨﻔﻴﺲ ﻋﻦ ﻛﺒﺘﻬﺎ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﻧﻘﺪ ﺍ‪‬ﺘﻤﻊ ﻭﻇﻮﺍﻫﺮ ﺍﻟﺴﻠﺒﻴﺔ‪ ،‬ﺑﻞ ﻭﺳﻠﻮﻙ‬
‫ﺍﻟﺒﺸﺮ ﺍﻟﺴﻴﺊ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪.‬‬
‫ﺇﺫﻥ ﺍﻷﻧﻮﺍﻉ ﺍﻟﱵ ﺫﻛﺮﻧﺎﻫﺎ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﻣﺜﻠﻴﺔ ﻭﺷﻌﺮﻳﺔ ﻭﻟﻐﺰﻳﺔ ﻭﻧﻜﺘﻴﺔ ﻣﺎ ﻫﻲ ﺇﻻﹼ‬
‫ﺗﺼﻨﻴﻒ ﻭﺍﺣﺪ‪ ،‬ﻣﻦ ﺗﺼﻨﻴﻔﺎﺕ ﻛﺜﲑﺓ ﺣﺎﻭﻝ ﺍﻟﺒﺎﺣﺜﻮﻥ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﺿﺒﻄﻬﺎ‪.‬‬

‫)‪ (1‬ﳏﻤﺪ ﺳﻌﻴﺪﻱ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ ‪،‬ﺹ‪.65‬‬

‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.65‬‬
‫‪- 28 -‬‬
‫ﻛﻤﺎ ﺃﻥﹼ ﺍﻫﺘﻤﺎﻣﻨﺎ ‪‬ﺬﻩ ﺍﻷﻧﻮﺍﻉ ﻭﻭﻗﻮﻓﻨﺎ ﻋﻨﺪﻫﺎ‪ ،‬ﺩﻭﻥ ﻏﲑﻫﺎ ﻣﻦ ﺍﻷﻧﻮﺍﻉ ﻛﺎﻥ ﻟﻐﺎﻳﺔ ﻭﺍﺣﺪﺓ‬
‫ﻫﻲ ﺗﺒﻴﺎﻥ ﻣﺪﻯ ﺃﳘﻴﺔ ﻓﻨﻮﻥ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪ ،‬ﺍﻟﱵ ﺗﺘﻘﺎﻃﻊ ﻓﻴﻬﺎ ﺑﻴﻨﻬﺎ ﻟﺘﻮﻟﹼﺪ ﻓﻨﻮﻧﺎ ﺷﻌﺒﻴﺔ ﺃﺧ‪‬ﺮﻯ ﻫﻲ‬
‫ﻏﺎﻳﺔ ﰲ ﺍﻷﳘﻴﺔ ﺃﻳﻀﺎ‪.‬‬
‫ﻭﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺗﻨﻮ‪‬ﻉ ﻣﻮﺿﻮﻋﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺬﻱ ﺃﺩﻯ ﺑﺪﻭﺭﻩ ﺇﱃ ﺗﻨﻮﻉ ﺃﺟﻨﺎﺳﻬﺎ‬
‫ﻣﻦ ﺣﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﺍﳌﻌﺎﺷﺔ‪ ،‬ﺇﱃ ﺣﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ ﻓﺤﻜﺎﻳﺎﺕ ﺍﻷﻟﻐﺎﺯ‬
‫ﻭﺣﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻷﺧﻼﻗﻲ‪ ...‬ﺍﱁ‪.‬‬
‫ﺇﻻﹼ ﺃﻥﹼ ﺍﻟﺒﺎﺣﺜﲔ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﱂ ﻳﻬﺘﻤ‪‬ﻮﺍ ﲟﺜﻞ ﻫﺬﻩ ﺍﻟﺘﻔﺮﻳﻌﺎﺕ ﻻﻗﺘﻨﺎﻋﻬﻢ ﺑﺄﻧ‪‬ﻬﺎ" ﲤﺜﻞ ﺗﻨﻮﻋﺎﺕ‬
‫) ‪(1‬‬
‫ﻟﺸﻜﻞ ﻭﺍﺣﺪ ﻫﻮ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﺗﻘﻮﻡ ﲨﻴﻌ‪‬ﺎ ﺑﻨﻔﺲ ﺍﻟﻮﻇﺎﺋﻒ ﰲ ﺍﳌﻨﺎﺥ ﺍﳊﻀﺎﺭﻱ ﺍﻟﻮﺍﺣﺪ"‪.‬‬
‫ﻓﻬﺬﻩ ﺍﻟﺮﺅﻳﺔ ﺇﺫﻥ ﺗﻌﻜﺲ ﺃﳘﻴﺔ ﻫﺬﺍ ﺍﻟﻠﻮﻥ ﺍﻷﺩﰊ ﺍﻟﺸﻌﱯ‪ ،‬ﻭﻭﻇﺎﺋﻔﻪ ﺍﻟﻼﹼﳏﺪﻭﺩﺓ ﺩﺍﺧﻞ‬
‫ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺣﱴ ﻭﺇﻥ ﺗﻌﺪ‪‬ﺩﺕ ﺃﻧﻮﺍﻋﻪ‪ ،‬ﻓﺪﻭﺭﻫﺎ ﻭﺍﺣﺪ ﺑﻼ ﺷﻚ ‪.‬‬

‫ﻣﻘﻮّ ﻣﺎت اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔوﻣﻤﻴ ّ ﺰاﺗﻬﺎ‪:‬‬

‫ﺧﺎﻣﺴﺎ‪-‬‬
‫اﻟﻤﻘﻮّ ﻣﺎت‪:‬‬
‫‪-1‬‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺇﺑﺪﺍﻉ ﻓﻨ‪‬ﻲ ﺃﺩﰊ ﻗﻴ‪‬ﻢ‪ ،‬ﺗﻔﻨ‪‬ﻦ ﰲ ﻧﺴﺠﻪ ﺧﻴﺎﻝ ﺷﻌﱯ ﻋﺮﰊ ﳎﻬﻮﻝ ﺍﻧﺘﻘﻞ ﺇﻟﻴﻨﺎ‬
‫ﻋﻦ ﻃﺮﻳﻖ ﺍﳌﺸﺎﻓﻬﺔ ﺟﻴﻼ ﺑﻌﺪ ﺟﻴﻞ‪ ،‬ﻭ‪‬ﺬﺍ ﺿﻤﻦ ﻟﻨﻔﺴﻪ ﺍﻟﺒﻘﺎﺀ‪.‬‬
‫ﺇﻧ‪‬ﻬﺎ ﻗﻄﻌﺔ ﻓﻨ‪‬ﻴﺔ ﺷﻌﺒﻴﺔ ﺃﺩﺑﻴﺔ ﳑﻴ‪‬ﺰﺓ ‪ ،‬ﻓﻨﻴﺘﻬﺎ ﺍﻛﺘﺴﺒﺘﻬﺎ ﻣﻦ ﳎﻤﻮﻋﺔ ﻣﻘﻮﻣﺎﺕ ﻫﻲ ﻏﺎﻳﺔ ﰲ ﺍﻷﳘﻴﺔ‬
‫ﲢﺪ‪‬ﺩﻫﺎ ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ ﰲ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫ﺃ‪ -‬ﺣﺒﻜﺔ ﺍﻟﺘﺄﻟﻴﻒ ‪:‬‬
‫ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺧﻼﻑ ﺍﳊﻜﺎﻳﺔ ﺍﳋﹸﺮﺍﻓﻴﺔ‪ ،‬ﺗﺘﻤﻴ‪‬ﺰ ﺑﺘﺄﻟﻴﻔﻬﺎ ﺍﳌﻌﻘﹼﺪ ﺍﳌﺘﻨﻮﻉ ﺍﻟﺬﻱ ﻻ ﳝﻜﻦ‬
‫ﺗﻘﻠﻴﺪﻩ ﻷ‪‬ﺎ ﻣﻦ ﻭﺣﻲ ﺇﺑﺪﺍﻉ ﺷﻌﱯ ﻣﺘﺪﻓﻖ ﺍﳋﻴﺎﻝ‪.‬‬
‫) ‪(2‬‬
‫"ﻭﺗﺒﺪﺃ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲝﺎﻟﺔ ﺍﻟﻼﺗﻮﺍﺯﻥ‪ ،‬ﻭﺗﺴﲑ ﰲ ﺃﺣﺪﺍﺛﻬﺎ ﺑ‪‬ﻐﻴﺔ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺣﺎﻟﺔ ﺍﻟﺘﻮ‪‬ﺍﺯﻥ"‬
‫ﺷﺄ‪‬ﺎ ﰲ ﺫﻟﻚ ﺷﺄﻥ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻏﲑ ﺃﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻻ ﺗﻨﺘﻬﻲ ﺇﱃ ﺣﺎﻟﺔ ﺍﻟﺘﻮﺍﺯﻥ ﻓﻤﺜﻼ ﰲ‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﻲ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ )ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ(‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻮﻃﻨﻴﺔ ﻟﻠﻜﺘﺎﺏ ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪.‬ﻁ(‪1986 ،‬ﻡ‪،‬ﺹ‪.118‬‬
‫)‪ (2‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪،‬ﺹ‪.210‬‬
‫‪- 29 -‬‬
‫ﺣﻜﺎﻳﺔ ﺯﻭﺟﻪ ﺍﻷﺏ ﻭﺍﻟﺮﺑﻴﺒﺔ)*(‪ ،‬ﺑﺪﻻ ﻣﻦ ﺃﻥ ﺗﻘﺘﻞ ﺍﻷﻡ ﺍﺑﻨﺘﻬﺎ ﻟﺸﺪﺓ ﺗﻜﺎﺳﻠﻬﺎ‪ ،‬ﻓﺈﻥ ﺍﻟﺒﻨﺖ ﺗﺴﺒﻖ‬
‫ﺍﻷﻡ ﻭﺗﻘﺘﻠﻬﺎ‪.‬‬
‫ﻓﻬﺬﻩ ﺍﻟﻨﻬﺎﻳﺔ ﻏﲑ ﻣﺘﻮﻗﻌﺔ ﺗﻌﺘﱪ ﻣﻦ ﺃﻫﻢ ﲰﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﻟﻠﻮﺻﻮﻝ ﺇﱃ ﻫﺬﻩ ﺍﻟﻨﻬﺎﻳﺔ‬
‫ﻓﺈﻥ ﺍﳊﻜﺎﻳﺔ ﺗﺴﺘﻌﲔ ﺑﺄﺣﺪﺍﺙ ﳏﻜﻤﺔ ﺍﻟﺒﻨﺎﺀ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﳎﻤﻮﻋﺔ ﻭﺳﺎﺋﻞ ﻓﻨﻴﺔ ﺃﺧﺮﻯ ‪.‬‬
‫"ﻭﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻘﻮﻝ ﺃﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﺒﺪﺃ ﺑﺎﻟﻼﺗﻮﺍﺯﻥ‪ ،‬ﻭﺗﻨﻬﻲ ﺑﺈﺑﺮﺍﺯ ﻓﻠﺴﻔﺔ ﻟﻠﺤﻴﺎﺓ ﺗﺪﻓﻊ ﺍﻹﻧﺴﺎﻥ‬
‫) ‪(1‬‬
‫ﻷﻥ ﻳ‪‬ﻔﻜﺮ ﻓﻴﻬﺎ ﺃﻛﺜﺮ ﻣﻦ ﻣﺮ‪‬ﺓ ﻗﺒﻞ ﺃﻥ ﻳﺮﺿﺎﻫﺎ"‬
‫ﻭﻫﺬﺍ ﺃﻣﺮ‪ ‬ﻃﺒﻴﻌﻲ ﻷﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﻌﺒﲑ ﺃﻭ ﺻﻮﺭﺓ ﻟﺘﻠﻚ ﺍﻟﺘﺠﺎﺭﺏ ﺍﻟﱵ ﻧﻌﻴﺸﻬﺎ‪ ،‬ﻟﺬﻟﻚ ﳒﺪﻫﺎ‬
‫ﺩﺍﺋﻤﺎ ﺗﺴﻌﻰ ﺇﱃ ﺇﺣﻜﺎﻡ ﺑﻨﺎﺋﻬﺎ ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻓﻠﺴﻔﺔ ﻋﻤﻴﻘﺔ ﰲ ﺍﳊﻴﺎﺓ‪ ،‬ﺣﻴﺚ ﺗﺘﻤﻴ‪‬ﺰ‬
‫ﺑﺎﻟﻮﺿﻮﺡ ﻭﺍﻟﻐﻤﻮﺽ ﻣﻌ‪‬ﺎ‪.‬‬
‫ﺏ‪ -‬ﺭﻣﻮﺯ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫ﲢﺘﻮﻱ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﳎﻤﻮﻋﺔ ﺭﻣﻮﺯ ﻫﻲ ﰲ ﺣﻘﻴﻘﺔ ﺍﻷﻣﺮ ﳐﺘﻠﻔﺔ ﻋﻦ ﺗﻠﻚ ﺍﻟﱵ‬
‫ﲢﺘﻮﻳﻬﺎ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪" ،‬ﻷﻥ ﻛﻞﹼ ﺭﻣﺰ ﻣﻦ ﺭﻣﻮﺯ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﻟﻪ ﻣﻐﺰﻯ ﰲ ﺣﺪ‪ ‬ﺫﺍﺗﻪ‪ ،‬ﻭﻫﻮ‬
‫ﻳ‪‬ﺴﻬﻢ ﻣﻊ ﺍﻟﺮﻣﻮﺯ ﺍﻷﺧﺮﻯ ﰲ ﺇﺑﺮﺍﺯ ﺍﳌﻐﺰﻯ ﺍﻟﻨﻔﺴﻲ ﺍﻟﻜﺒﲑ ﻟﻠﺤﻜﺎﻳﺔ " )‪.(2‬‬
‫ﰲ ﺣﲔ "ﺃﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲢﺘﻮﻱ ﻋﻠﻰ ﺫﻟﻚ ﺍﻟﺮﻣﺰ ﺍﻟﻜﺒﲑ ﺍﻟﺬﻱ ﺗﺘﻈﺎﻓﺮ ﻣﻦ ﺣﻮﻟﻪ ﻛﻞ ﻋﻨﺎﺻﺮ‬
‫) ‪(3‬‬
‫ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳ‪‬ﺴﻤﻴﻪ ﺍﻟﺒﻼﻏﻴﻮﻥ ﺑﺎﻟﺘﺸﺒﻴﻪ ﺍﻟﺘﻤﺜﻴﻠﻲ"‬
‫ﻓﻔﻲ ﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ)*( ﲤﺜﻞ ﺍﻟﻔﺘﺎﺓ ﻭﺩﻋﺔ ﺭﻣﺰ ﺍﳊﻜﺎﻳﺔ ﺍﻟﻜﺒﲑ ﻷ‪‬ﺎ ﻫﻲ ﺍﶈﻮﺭ‬
‫ﺍﻷﺳﺎﺳﻲ ﺍﻟﺬﻱ ﺗﻘﻮﻡ ﻋﻠﻴﻪ ﺍﳊﻜﺎﻳﺔ ﻭﺗﺘﻔﺮﻉ ﰲ ﺃﺣﺪﺍﺛﻬﺎ‪ ،‬ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺇﺫﻥ "ﻭﺣﺪﺓ ﺭﻣﺰﻳﺔ‬
‫ﻣﺘﻜﺎﻣﻠﺔ" )‪ (4‬ﻳﺼﻌﺐ ﺇﺳﻘﺎﻁ ﺟﺎﻧﺐ ﻣﻨﻬﺎ ﺃﻭ ﺇﳘﺎﻟﻪ ﻷﻥﹼ ﳒﺎﺡ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﺘﻮﻗﻒ ﻋﻠﻰ ﳒﺎﺡ‬
‫ﻫﺬﺍ ﺍﻟﺮﻣﺰ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺜﺒﺖ ﺃﳘﻴﺔ ﺍﻟﺮﻣﺰ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻷﻥ ﺑﻪ ﻳﺘﺤﻘﻖ ﺍﳍﺪﻑ ﺍﳌﺮﺟﻮ ﻣﻦ‬
‫ﺍﳊﻜﺎﻳﺔ‪.‬‬

‫)*( ﻳ‪‬ﻨﻈﺮ ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪،‬ﺹ ‪.196‬‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.210‬‬
‫)‪(2‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪،‬ﺹ‪.211‬‬
‫)‪ (3‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ ‪:‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.211‬‬
‫)*(‬
‫ﻳ‪‬ﻨﻈﺮ ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪ ،‬ﺹ ‪.169‬‬
‫)‪ (4‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪:‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ ﺹ ‪.212‬‬
‫‪- 30 -‬‬
 ‫ﺝ‪ -‬ﺍﻟﺘ‪‬ﺠﺴﻴﺪ ‪:‬‬
‫ﻳ‪‬ﻘﺼﺪ ﺑﺎﻟﺘ‪‬ﺠﺴﻴﺪ ﺍﻟﺘ‪‬ﻤﺜﻴﻞ‪ " ،‬ﻓﺎﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﳝﻴﻞ ﻛﻞﹼ ﺍﳌﻴﻞ ﺇﱃ ﲡﺴﻴﺪ ﺍﻟﻈﻮﺍﻫﺮ ﺍﳌﻌﻨﻮﻳﺔ‬
‫ﻛﻤﺎ ﳝﻴﻞ ﺇﱃ ﲡﺴﻴﺪ ﺣﻜﻤﻪ ﻭﺃﻣﺜﺎﻟﻪ")‪ (1‬ﻹﺑﺮﺍﺯ ﻣﻔﻬﻮﻣﻬﺎ‪ ،‬ﻭﺇﻋﻄﺎﺀ ﺻﻮﺭﺓ ﻣﻠﻤﻮﺳﺔ ﻣﺘﻜﺎﻣﻠﺔ‬
‫ﻳﺴﺘﻮﺣﻲ ﺍﻟﺴﺎﻣﻊ ﻣﻦ ﺧﻼﳍﺎ ﺩﻻﻻﺕ ﺍﻟﻈﺎﻫﺮﺓ ﺍﳌﻌﻨﻮﻳﺔ‪ ،‬ﻓﻴﻌﻤﺪ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺇﱃ ﲡﺴﻴﺪ ﻣﻔﻬﻮﻡ‬
‫ﺍﻟﺸﺮ ﻣﺜﻼ ﰲ ﺻﻮﺭﺓ ﺍﻟﻐﻮﻝ‪ ،‬ﺃﻭ ﺍﻟﻌﺠﻮﺯ ﺍﻟﺸﻤﻄﺎﺀ‪ ،‬ﻭﲡﺴﻴﺪ ﺍﳋﲑ ﰲ ﺻﻮﺭﺓ ﺍﻹﻧﺴﺎﻥ ﺃﻭ ﺍﻟﺸﻴﺦ‬
‫ﺍﻟﻮﺭﻉ ﺍﻟﺬﻱ ﻳﻠﺒﺲ ﺛﻴﺎﺑﺎ ﺑﻴﻀﺎﺀ ﻳﺸﻊ‪ ‬ﻣﻨﻬﺎ ﺍﻟﻨﻮﺭ‪.‬‬
‫ﻭﻳﺘﺠﺴ‪‬ﺪ ﺗﻐﻠﺐ ﺍﳋﲑ ﻋﻠﻰ ﺍﻟﺸﺮ ﰲ ﺍﻧﺘﺼﺎﺭ ﺍﻟﺒﻄﻞ ﺍﻟﺬﻱ ﳝﺜﻞ ﺻﻮﺭﺓ ﺍﳋﲑ ﻋﻠﻰ ﺍﻟﻌﺪﻭ ﺍﻟﺬﻱ ﻳﺄﺧﺬ‬
‫ﺻﻮﺭ‪‬ﺍ ﳐﺘﻠﻔﺔ‪ ،‬ﻓﻘﺪ ﻳﻜﻮﻥ ﺇﻧﺴ‪‬ﺎ ﺃﻭ ﺟﻨ‪‬ﺎ ﺃﻭ ﻏﻮﻻ ﺃﻭ ﺣﺘ‪‬ﻰ ﺳﻮﺀ ﺣﻆ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﲤﺜﻠﻪ ﺍﳊﻜﺎﻳﺔ ﺍﻟﱵ‬
‫ﺗﱪﺯ ﺃﻧﺎﻧﻴﺔ ﺯﻭﺟﺔ ﺍﻷﺏ ﺑﺘﻘﺪﳝﻬﺎ ﺍﻟﻨﺼﺎﺋﺢ ﻻﺑﻨﺘﻬﺎ ﺩﻭﻥ ﺭﻳﺒﺒﺘﻬﺎ ﺍﻟﱵ ﻛﺎﻧﺖ ﺑﺪﻭﺭﻫﺎ ﺗﻌﻜﺲ ﻛﻞ‬
‫ﻧﺼﻴﺤﺔ ﲞﻼﻑ ﺍﻟﺒﻨﺖ ﻓﻜﺎﻥ ﺍﳊﻆ ﻣﻦ ﻧﺼﻴﺐ ﺍﻟﺮﺑﻴﺒﺔ‪.‬‬
‫ﺩ‪ -‬ﺍﳌﻘﺪﺭﺓ ﺍﻟﻠﻐﻮﻳﺔ‪:‬‬
‫ﺗﻌﺘﱪ ﺍﳌﻘﺪﺭﺓ ﺍﻟﻠﻐﻮﻳﺔ ﻣﻦ ﺃﻫﻢ ﻣﻘﻮﻣﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺫﻟﻚ ﺃ‪‬ﺎ ﺗﻌﲏ" ﻗﺪﺭﺓ ﺍﻹﻧﺴﺎﻥ‬
‫ﺍﻟﺸﻌﱯ ﻋﻠﻰ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﺘﻮﺭﻳﺔ ﻭﺍﻟﻜﺘﺎﺑﺔ ﲝﻴﺚ ﻳﺒﺪﻭ ﺍﻟﻜﻼﻡ ﰲ ﺷﻜﻞ ﺃﻟﻐﺎﺯ" ‪. ‬‬
‫ﻓﻘﺪ ﻃﺮﺡ ﺍﻟﺴﻠﻄﺎﻥ ﰲ ﺣﻜﺎﻳﺔ ﺟﺎﺯﻳﺔ ﻭﺍﳋﺮﻓﺎﻥ)*( ﲨﻠﺔ ﻣﻦ ﺍﻷﺳﺌﻠﺔ ﻋﻠﻰ ﺯﻭﺟﺘﻪ ﰲ ﺷﻜﻞ‬
‫ﺃﻟﻐﺎﺯ ﻗﺎﺋﻼ ﳍﺎ ‪ :‬ﻣﺎ ﻫﻮ ﺃﻋﻠﻰ ﺷﻲﺀ ؟ ﻭﻣﺎ ﻫﻮ ﺃﻣﺮ ﺷﻲﺀ؟ ﻭﻣﺎ ﻫﻮ ﺃﺣﻠﻰ ﺷﻲﺀ؟ ‪.‬‬
‫ﻓﻘﺼﺪﺕ ﺍﻟﺰﻭﺟﺔ ﺃﻫﻠﻬﺎ ﻋﻠﹼﻬﺎ ﺗﺘﻮﺻﻞ ﺇﱃ ﺍﻹﺟﺎﺑﺔ ﺍﻟﺼﺤﻴﺤﺔ ‪ ،‬ﻟﻜﻦ ﺍﺑﻨﻬﺎ ﺩﻳﺎﺏ ﺃﺭﺷﺪﻫﺎ ﺇﻟﻴﻬﺎ‬
‫ﻗﺎﺋﻼ‪ :‬ﺍﻷﻋﻠﻰ ﻫﻮ ﺍﷲ‪ ،‬ﻭﺍﻷﻣﺮ‪ ‬ﻫﻮ ﺍﳌﻮﺕ‪ ،‬ﻭﺍﻷﺣﻠﻰ ﻫﻮ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‪.‬‬
‫ﻭﰲ ﻧﻔﺲ ﺍﻟﻘﺼﺔ ﳒﺪ ﺍﻟﺪﻻﻟﺔ ﺍﻟﱵ ﲢﻤﻠﻬﺎ ﺻﻮﺭﺓ ﺍﻟﻌﻈﺎﻡ ﺍﻟﱵ ﺑﻌﺚ ‪‬ﺎ ﺩﻳﺎﺏ ﺇﱃ ﺟﺎﺯﻳﺔ ﻭﺍﻟﱵ ﻳﻘﺼﺪ‬
‫ﻣﻦ ﻭﺭﺍﺋﻬﺎ ﺃ‪‬ﺎ ﺟﺮ‪‬ﺩﺗﻪ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﻌﻈﺎﻡ‪ ،‬ﻭﺫﻟﻚ ﻋﻨﺪﻣﺎ ﺣﻜﻤﺖ ﺑﺘﻮﺯﻳﻊ ﺃﻏﻨﺎﻣﻪ ‪ ،‬ﻭﻫﻜﺬﺍ ﺗﺘﻜﺮﺭ‬
‫ﻣﺜﻞ ﻫﺬﻩ ﺍﻷﻟﻐﺎﺯ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻟﺘﻌﻜﺲ ﺍﻟﻘﺪﺭﺓ ﺍﻟﻔﻨﻴﺔ ﰲ ﺍﻟﺘﻌﺒﲑ ﺍﻟﻠﻐﻮﻱ ‪،‬ﻟﻺﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ‪،‬‬
‫ﻛﻤﺎ ﺃ‪‬ﺎ ﻭﺳﻴﻠﺔ ﻣﻬﻤﺔ ﻣﻦ ﻭﺳﺎﺋﻞ ﺍﻟﺘﺄﺛﲑ ﰲ ﺍﻟﺴﺎﻣﻌﲔ ﻭﻟﻔﺖ ﺍﻧﺘﺒﺎﻫﻬﻢ ﺇﱃ ﻣﻮﺿﻮﻉ ﺍﳊﻜﺎﻳﺔ‪،‬‬
‫ﻭﺟﻌﻠﻬﻢ ﻳﻨﺴﺠﻤﻮﻥ ﻣﻌﻪ ‪.‬‬

‫)‪ (1‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.212‬‬

‫‪ ‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪ ،‬ﺹ‪.213‬‬
‫)*(‬
‫ﻳ‪‬ﻨﻈﺮ ﺍﳊﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪ ،‬ﺹ ‪.178‬‬
‫‪- 31 -‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ‪ ،‬ﻓﺈﻥ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﱵ ﺳﺒﻖ ﺫﻛﺮﻫﺎ ﻫﻲ ﻓﻌﻼﹰ ﻣﻘﻮ‪‬ﻣﺎﺕ ﺃﺳﺎﺳﻴﺔ ﻟﻠﺤﻜﺎﻳﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺇﺫ ﺟﻌﻠﺖ ﻣﻨﻬﺎ ﺑﻨﻴﺔ ﻓﻨﻴﺔ ﻣﺘﻜﺎﻣﻠﺔ‪ ،‬ﺫﺍﺕ ﺃﺑﻌﺎﺩ ﻧﻔﺴﻴﺔ‪ ،‬ﻭﺍﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭﻓﻜﺮﻳﺔ ‪،‬ﺑﻞ‬
‫ﻭﺣﻀﺎﺭﻳﺔ ﺃﻳﻀﺎ‪.‬‬
‫‪-2‬ﳑﻴ‪‬ﺰﺍﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪:‬‬
‫ﺗﺘﻤﻴ‪‬ﺰ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲜﻤﻠﺔ ﻣﻦ ﺍﳋﺼﺎﺋﺺ‪ ،‬ﺃﻛﺴﺒﺖ ﻧﺼ‪‬ﻬﺎ ﲰﺔ ﺍﻻﻧﻔﺮﺍﺩ ﻋﻦ ﺑﻘﻴﺔ ﺃﻟﻮﺍﻥ‬
‫ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﻷﺧﺮﻯ‪ ،‬ﺳﻮﺍﺀ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻟﺸﻜﻞ ﺃﻭ ﺍﳌﻀﻤﻮﻥ‪"،‬ﺇ‪‬ﹼﺎ ﺗﺘﻤ‪‬ﻴﺰ ﺑﺎﻟﺒﺴﺎﻃﺔ ﰲ ﺍﻟﺘﻌﺒﲑ‬
‫ﻭﺍﻹﳚﺎﺯ ﰲ ﺍﳌﻌﲎ‪ ،‬ﺇﺫﺍ ﻣﺎ ﻗﺎﺭﻧﺎﻫﺎ ﺑﺎﻟﻘﺼﺺ ﺍﳌﺪﺭﺳﻲ ﺍﻟﺬﻱ ﺃﺑﺪﻋﻪ ﺃﻓﺮﺍﺩ ﻳﺘﻤﻴ‪‬ﺰﻭﻥ ﺑﻌﻤﻖ ﺍﻟﺘﻔﻜﲑ‬
‫ﻭﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺗﻄﻮﻳﺮ ﺍﳊﺪﻳﺚ ﺑﻄﺮﻳﻘﺔ ﺗﻘﻨﻴﺔ ﻣﺘﺮﺍﺑﻄﺔ ﺗﺘﻼﺣﻖ ﻓﻴﻬﺎ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻭﻳﺘﻌﻘﹼﺪ ﻓﻴﻬﺎ ﺍﻟﺼﺮﺍﻉ‬
‫) ‪(1‬‬
‫ﺣﱴ ﺍﻟﻨﻬﺎﻳﺔ"‬
‫ﺇﺫﻥ ﻓﺎﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺴﻴﻄﺔ ﻷ‪‬ﺎ ﺗ‪‬ﻌﺒ‪‬ﺮ ﻋﻦ ﻋﻘﻠﻴﺔ ﺍﻟﺸﻌﺐ ﻭﻣﺰﺍﺟﻪ ﺍﻟﺒﺴﻴﻂ ﺍﻟﺬﻱ ﻳﻬﺘﻢ‪‬‬
‫ﺑﺎﻟﻨﺘﻴﺠﺔ ﻻ ﺑﺎﻟﻮﺳﺎﺋﻞ ﺍﳌﻌﻘﺪﺓ‪.‬‬
‫ﻋﻤﻮﻣ‪‬ﺎ ﻓﺈﻥ ﳑﻴﺰﺍﺕ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﳚﻤﻌﻬﺎ ﺭﺍﺑﺢ ﺍﻟﻌﻮﰊ‪2 ‬ﰲ ﺍﻟﻨﻘﺎﻁ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫ﺍﻟﺴ‪‬ﺮﺩ ﺍﳌﺘﺤﺮ‪‬ﺭ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺑﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻟﻌﺠﺎﺋﺐ ﻭﺍﳋﻮﺍﺭﻕ‪.‬‬ ‫‪‬‬

‫ﺇﳚﺎﺯ ﺧﺼﺎﺋﺺ ﺍﻟﺸﺨﺼﻴﺎﺕ ﰲ ﺧﻄﻮﻁ ﻋﺎﻣﺔ ﻭﻣﺮﻣﻮﻗﺔ‬ ‫‪‬‬

‫ﺍﻹﻛﺜﺎﺭ ﻣﻦ ﺍﻷﺣﺪﺍﺙ ﻭﺍﳌﻐﺎﻣﺮﺍﺕ ‪.‬‬ ‫‪‬‬

‫ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻟﺘﺒﺴﻴﻂ ﻭﺍﳉﻨﻮﺡ ﺇﱃ ﺍﳌﻌﲎ ﺍﻟﺮﻣﺰﻱ‪.‬‬ ‫‪‬‬

‫ﺍﻻﺑﺘﻌﺎﺩ ﻋﻠﻰ ﺍﳋﻮﺽ ﰲ ﺍﻟﺘﻔﺎﺻﻴﻞ ﻟﺘﺒﻘﻰ ﺍﳊﻜﺎﻳﺔ ﺑﻌﻴﺪﺓ ﻋﻦ ﺍﻟﻮﺍﻗﻊ‪.‬‬ ‫‪‬‬

‫ﺇﻇﻬﺎﺭ ﺷﺨﺼﻴﺔ ﺍﻟﺒﻄﻞ ﺷﺎﺣﺒﺔ ﺍﳌﻼﻣﺢ ﻣﺘﻤﺜﻠﺔ ﳌﻌﺎﱐ ﺍﻟﺒﻄﻮﻟﺔ ﻭﺍﳌﻬﺎﺭﺓ ﺃﻭ ﺍﳊﻴﻠﺔ ﺃﻭ ﺍﻟﻘﻮﺓ‬ ‫‪‬‬

‫ﻭﺫﻟﻚ ﳉﻠﺐ ﺍﻻﻧﺘﺒﺎﻩ‪.‬‬

‫ﺗﻀﻤﲔ ﺍﳊﹸﺒﻜﺔ ﺩﻻﺋﻞ ﻓﻠﺴﻔﻴﺔ ﻭﺧﻠﻘﻴﺔ ﻣﻦ ﺷﺄ‪‬ﺎ ﺃﻥ ﺗﺆﺛﺮ ﰲ ﻧﻔﻮﺱ ﺍﻟﻘﹸﺮﺍﺀ ﻭﺍﻟﺴﺎﻣﻌﲔ‪.‬‬ ‫‪‬‬

‫‪ 1‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﻣﻨﻄﻠﻘﺎﺕ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻮﻃﻨﻴﺔ ﻟﻠﻔﻨﻮﻥ ﺍﳌﻄﺒﻌﻴﺔ‪،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ‪.‬ﻁ(‪1990 ،‬ﻡ ‪،‬ﺹ‪.107‬‬
‫)‪ (2‬ﺭﺍﺑﺢ ﺍﻟﻌﻮﰊ ‪ :‬ﺃﻧﻮﺍﻉ ﺍﻟﻨﺜﺮ ﺍﻟﺸﻌﱯ‪،‬ﺹ‪.40‬‬

‫‪- 32 -‬‬
‫ﺇﻥﹼ ﻫﺬﻩ ﺍﳌﻤ‪‬ﻴﺰﺍﺕ ﲰﺤﺖ ﻓﻴﻤﺎ ﺑﻌﺪ ﺑﺈﻋﻄﺎﺀ ﺗﺼﻨﻴﻔﺎﺕ ﻛﺜﲑﺓ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻛﻤﺎ ﺃ‪‬ﺎ‬
‫ﻋﻜﺴﺖ ﺍﳉﻤﺎﻟﻴﺔ ﺍﻟﻔﻨﻴﺔ ﻟﻠﻨﺺ ﺍﳊﻜﺎﺋﻲ ﺍﻟﺸﻌﱯ‪ ،‬ﺧﺎﺻﺔ ﻣﺎ ﺗﻌﻠﻖ ﻣﻨﻪ ﺑﺎﳉﺎﻧﺐ ﺍﻟﺴﺮﺩﻱ ﺍﻟﺬﻱ ﻳﺜﺒﺖ‬
‫ﻏﻠﺒﺔ ﺍﳋﻴﺎﻝ ﺍﻟﺸﻌﱯ ﺍﳉﻤﻴﻞ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻃﺒﻊ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﻋﻤﻮﻣ‪‬ﺎ ﺑﻌﻨﺼﺮ ﺍﳋﻴﺎﻝ ﺍﳋﻼﹼﻕ‬
‫ﺧﻼﻓﺎ ﻟﻠﺬﺍﰐ ﻣﻨﻪ ﺍﻟﺬﻱ ﻫﻮ ﻏﺎﻟﺒﺎ ﺃﺩﺏ ﲡﺮﻳﺪﻱ ﻳﺘﻘﺎﲰﻪ ﺍﻟﻮﺍﻗﻊ ﻭﺍﳋﻴﺎﻝ‪.‬‬
‫ﻓﺴﻤﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﺬﻩ‪ ،‬ﺧﻮﻟﺖ ﳍﺎ ﻣﻜﺎﻥ ﺍﻟﺼﺪﺍﺭﺓ ﻋﻠﻰ ﻣﻌﻈﻢ ﺃﺷﻜﺎﻝ ﺍﻷﺩﺏ‬
‫ﺍﻟﺸﻌﱯ‪ ،‬ﺑﻞ ﻭﺟﻌﻠﺘﻬﺎ ﺍﻷﻛﺜﺮ ﺍﻧﺘﺸﺎﺭﺍ‪ ،‬ﻷﻧ‪‬ﻬﺎ ﻧﺘﺎﺝ ﺇﺑﺪﺍﻉ ﳐﻴ‪‬ﻠﺔ ﺷﻌﺒﻴﺔ ﺍﻋﺘﻤﺪﺕ ﺍﻟﺒﺴﺎﻃﺔ ﻭﺍﻟﺒﺴﺎﻃﺔ‬
‫ﻓﻘﻂ ﰲ ﻧﺴﺞ ﺃﺣﺪﺍﺛﻬﺎ ﻭﻭﻗﺎﺋﻌﻬﺎ‪.‬‬

‫ﺳﺎدﺳﺎ ‪ -‬ﻣﻨﻄﻠﻘـﺎت اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ ‪:‬‬

‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻔﻬﻮﻣﻬﺎ ﺍﻟﺒﺴﻴﻂ" ﺷﻜﻞ ﻗﺼﺼﻲ‪ ،‬ﻳﺘﺨﺬ ﻣﺎﺩﺗﻪ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻨﻔﺴﻲ‬
‫ﻭﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻟﺬﻱ ﻳﻌﻴﺸﻪ ﺍﻟﺸﻌﺐ" )‪ ،(1‬ﻓﻬﻲ ‪‬ﺬﺍ ﺍﻟﺸﻜﻞ ﲡﻤﻊ ﺑﲔ ﺃﻣﺮﻳﻦ ﻣﻬﻤﲔ ﺟﺪ‪‬ﺍ ﳘﺎ‬
‫ﺍﻹﻧﺴﺎﻥ ﻭﻭﺍﻗﻌﻪ ﺍﻟﻨﻔﺴﻲ ﻭﺍﻻﺟﺘﻤﺎﻋﻲ‪.‬‬
‫ﺑﻞ ﺇ‪‬ﺎ ﺛﻘﺎﻓﺔ ﺃﺩﺑﻴﺔ ﺷﻌﺒﻴﺔ ﳍﺎ ﻣﻌﻄﻴﺎ‪‬ﺎ ﻭﻣﻨﻄﻠﻘﺎ‪‬ﺎ ﺍﳋﺎﺻﺔ ‪‬ﺎ‪ ،‬ﻫﻲ ﻣﻌﻄﻴﺎﺕ ﻧﺎﺑﻌﺔ ﻣﻦ ﺍﻹﻃﺎﺭ‬
‫ﺍﳊﻀﺎﺭﻱ ﻭﺍﻟﺴﲑﻭﺭﺓ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﱵ ﻳﻨﺘﺠﻬﺎ ﺍﻟﺸﻌﺐ‪.‬‬
‫ﻭﺗﺘﻤﻴﺰ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﻟﱵ ﲢﻮﻱ ﺍﻟﻘﺼﺔ ﺃﻳﻀﺎ ﰲ ﺍﳉﺰﺍﺋﺮ "ﺑﺎﻧﺘﻬﺎﺝ ﺧﻂ ﻋﺎﻡ ﺗﺘﻤﺜﻞ ﻓﻴﻪ‬
‫ﺭﺅﻳﺔ ﺇﻧﺴﺎﻧﻴﺔ ﺗﻌﺒ‪‬ﺮ ﻋﻦ ﺣﺎﻻﺕ ﻧﻔﺴﻴﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﺛﻘﺎﻓﻴﺔ ﺗﺸﺘﺮﻙ ﻓﻴﻬﺎ ﻛﻞ ﺍﻟﺸﻌﻮﺏ ﺑﺼﻮﺭﺓ ﻣﻦ‬
‫ﺍﻟﺼﻮﺭ ﻭﺭﻏﻢ ﺍﺧﺘﻼﻑ ﺍﻟﺒﻴﺌﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭﺗﺒﺎﻋﺪ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺯﻣﺎﻧﺎ ﻭﻣﻜﺎﻧ‪‬ﺎ‪ ،‬ﻓﺈﻥﹼ ﺍﻟﻘﺼﺎﺹ ﻳﻌﺒ‪‬ﺮ ﻋﻦ‬
‫ﻭﺍﻗﻊ ﻧﻔﺴﻲ‪ ،‬ﺗﻨﻌﺪﻡ ﻓﻴﻪ ﺍﻟﻨﻈﺮﺓ ﺍﻹﻗﻠﻴﻤﻴﺔ ﻭﺍﻟﻘﻮﻣﻴﺔ ﲝﻴﺚ ﻳﺘﺴﻊ ﳎﺎﻝ ﺍﻟﺘﺼﻮﻳﺮ ﺇﱃ ﺭﺅﻳﺔ ﺃﺑﻌﺪ ﻣﻦ‬
‫) ‪(2‬‬
‫ﺍﳊﺪﻭﺩ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﳉﻐﺮﺍﻓﻴﺔ ﻟﻠﺸﻌﻮﺏ"‪.‬‬
‫ﻛﻤﺎ ﺃﻧﻪ ﻳ‪‬ﻌﺒ‪‬ﺮ ﻋﻦ ﺧﻼﺻﺔ ﲡﺎﺭﺏ ﻭﺧﱪﺍﺕ ﻗﺪﳝﺔ ﻋﻠﻰ ﺷﻜﻞ ﺣﻜﺎﻳﺎﺕ ﻻ ﺗﻘﺘﺼﺮ ﻋﻠﻰ‬
‫ﺍﻟﺼﻐﺎﺭ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻟﻠﻜﺒﺎﺭ ﺃﻳﻀﺎ‪ ،‬ﻭﺣﻜﺎﻳﺎﺕ ﺍﻟﺼﻐﺎﺭ ﻧﻔﺴﻬﺎ ﺗﻌﺒ‪‬ﺮ ﻋﻦ ﺍﻟﻜﺒﺎﺭ ﻭﺗﺘﻀﻤﻦ ﲡﺎﺭ‪‬ﻢ‬
‫ﻭﲢﻤﻞ ﺧﻼﺻﺔ ﺧﱪ‪‬ﻢ‪ ،‬ﻓﻬﻮ ﻻ ﻳﻄﺮﺡ ﻗﻀﻴﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﺃﻭ ﺳﻴﺎﺳﻴﺔ ﰲ ﺣﺪﻭﺩ ﻭﺍﻗﻊ ﺍﺟﺘﻤﺎﻋﻲ‬
‫ﻣﻌﺮﻭﻑ ﺑﻞ ﻫﻮ ﻳﻄﺮﺡ ﺷﻌﻮﺭ‪‬ﺍ ﺇﻧﺴﺎﻧﻴﺎ ﻳﻜﺮﻩ ﺍﻟﻈﻠﻢ ﻭﺍﳉﱪﻭﺕ‪ ،‬ﻭﻳﺴﻌﻰ ﺩﻭﻣ‪‬ﺎ ﺇﱃ ﲢﻘﻴﻖ ﺍﳋﲑ‬
‫ﻭﺍﻟﻌﺪﻝ‪.‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﻲ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ)ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ(‪،‬ﺹ‪.118‬‬

‫)‪ (2‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﻣﻨﻄﻠﻘﺎﺕ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.15‬‬
‫‪- 33 -‬‬
‫ﺫﻟﻚ ﺃﻥ ﻣﺎ ﻣﻦ ﺷﻌﺐ ﺇﻻﹼ ﻭﻗﺪ ﻋﺮﻑ ﺍﻟﻈﻠﻢ ﻭﺍﻟﻘﻬﺮ ﻭﺍﻹﻛﺮﺍﻩ ﺑﺄﻱ‪ ‬ﺻﻮﺭﺓ ﻣﻦ ﺍﻟﺼﻮﺭ‪ ،‬ﻭﻻ‬
‫ﻳﺴﻌﻰ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﻃﺮﺣﻪ ﻷﺣﻼﻡ ﺍﻟﻄﺒﻘﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﻜﺒﻮﺗﺔ‪ ،‬ﺇﱃ ﺍﻟﺘﻤﺮﺩ ﻭﺍﻟﺜﻮﺭﺓ ﻋﻠﻰ ﻣﺎ ﻳﺮﺍﻩ‬
‫ﻣﻨﺎﻓﻴﺎ ﻟﻠﻌﺪﺍﻟﺔ‪ ،‬ﻭﻣﻨﻘﺼﺎ ﻟﻜﺮﺍﻣﺔ ﺍﻹﻧﺴﺎﻥ‪.‬‬
‫"ﻭﺇﻧ‪‬ﻤﺎ ﻳﻘﺪ‪‬ﻡ ﻟﻨﺎ ﺗﺼﻮﺭ‪‬ﺍ ﻟﻮﺍﻗﻊ ﳛﺘﻤﻞ ﺃﻥ ﻳﻘﻊ ﺑﺎﻟﻔﻌﻞ ‪ ،‬ﻭﺍﻗﻊ ﻋﺎﱏ ﻣﻨﻪ ﺍﻟﺸﻌﺐ ﺃﻧﻮﺍﻋﺎ ﳐﺘﻠﻔﺔ ﻣﻦ‬
‫ﺍﻻﺿﻄﻬﺎﺩ ﻭﺍﻟﻈﻠﻢ‪ ،‬ﰒ ﻗﻴﺾ ﺍﷲ ﻟﻪ ﻋﺒﻮﺭ‪‬ﺍ ﺣﺮ‪‬ﺭﻩ ﻣﻦ ﻭﺍﻗﻌﻪ ﺍﳌﺆﱂ‪...،‬ﻭﺩﻭﻥ ﺃﻥ ﺗﻘﻒ ﺍﻟﻄﺒﻘﺎﺕ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﺍﳉﺒﺎﺑﺮﺓ ﻣﻮﻗﻔﺎ ﺇﺭﺍﺩﻳﺎ ﻟﺘﻐﻴﲑ ﻭﺍﻗﻌﻬﺎ‪،‬ﻭﺩﻭﻥ ﺃﻥ ﻳﺘﺨﺬ ﺍﻟﻘﺼﺎﺹ ﻣﻦ ﺍﻟﻈﻠﻢ ﻳﻮﺣﻲ‬
‫) ‪(1‬‬
‫ﺑﺎﻟﺘﻤﺮ‪‬ﺩ"‪.‬‬
‫ﺇﺫﻥ ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﺭﺗﺒﻄﺖ ﺑﻮﺍﻗﻊ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻴﻮﻣﻲ ﻭﺟﻌﻠﺖ ﻣﻨﻪ ﻣﻨﻄﻠﻘﺎ ﳍﺎ ﻛﻤﺎ ﻋﺒ‪‬ﺮﺕ‬
‫ﻋﻦ ﺃﺣﺎﺳﻴﺲ ﺍﻟﺸﻌﻮﺏ ﻭﻣﻜﻨﻮﻧﺎ‪‬ﺎ‪ .‬ﻓﻬﻲ ﺗﺪﻝﹼ ﻋﻠﻰ ﺇﺣﺴﺎﺱ ﺍﻟﻀﻌﻴﻒ ﺑﻀﻌﻔﻪ ﻭﻋﺪﻡ ﺗﻮﻗﻌﻪ ﻣﻦ‬
‫ﺍﻟﻘﻀﺎﺀ ﺃﻥ ﻳﻨﺼﻔﻪ‪ ،‬ﻭﺃﻥ "ﻟﻴﺲ ﻟﻪ ﺇﻻ ﺃﻥ ﻳﻨﺼﻒ ﻟﻨﻔﺴﻪ ﺑﻨﻔﺴﻪ‪ ،‬ﻭﻗﺪ ﻳﺘﻢ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺍﻹﺣﺴﺎﺱ‬
‫) ‪(2‬‬
‫ﺑﺎﻟﻀﻌﻒ ﺑﺎﻟﺮﻣﺰ ﺇﻟﻴﻪ ﺑﺎﻟﺼﻐﺮ ﰲ ﺍﳉﺴﻢ ﻭﺍﳌﺴﻜﻦ ﻭﺍﻷﺩﻭﺍﺕ"‪.‬‬
‫ﻣﺎﻋﺪﺍ ﺗﻠﻚ ﺍﻟﺮﺅﻳﺔ ﺍﻟﺴﻠﺒﻴﺔ ﺍﻟﱵ ﺗﺘﻴﺢ ﻟﻠﺒﻄﻞ ﺍﻟﺸﻌﱯ ﺃﻥ ﻳﺼﻞ ﺇﱃ ﺍﳊﻜﻢ ﺑﻮﺳﺎﺋﻞ ﳐﺘﻠﻔﺔ ﻟﻴﺼﺒﺢ‬
‫ﰲ ﻏﺎﻟﺐ ﺍﻷﺣﻴﺎﻥ ﻻ ﻳﻬﺘﻢ ﺑﻘﻀﺎﻳﺎ ﺍﻟﻄﺒﻘﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻓﺎﻟﻘﺼﺎﺹ ﺍﻟﺸﻌﱯ ﻳﻌﻤﺪ ﺇﱃ ﻭﺿﻊ ﺇﻃﺎﺭﺍ‬
‫) ‪(3‬‬
‫ﺃﴰﻞ ﻣﻦ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻟﱵ ﻳ‪‬ﺮﻳﺪ ﻃﺮﺣﻬﺎ‪ ،‬ﻭﻗﺪ ﺳﺎﻋﺪﻩ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺘﺼﻮﺭ ﻋﺎﻣﻼﻥ‪.‬‬
‫ﺍﻟﻌﺎﻣﻞ ﺍﻷﻭﻝ‪ :‬ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻘﺼﺎﺹ ﺍﻟﺸ‪‬ﻌﱯ ﻟﻸﺳﺎﻃﲑ ﻭﺍﳋﺮﺍﻓﺎﺕ ﻛﻤﻨﻄﻠﻘﺎﺕ ﺃﺳﺎﺳﻴﺔ ﻟﻠﺘﻌﺒﲑ‬
‫ﺩﻭﻥ ﺇﻋﻄﺎﺀ ﺃﳘﻴﺔ ﻟﻠﻮﺍﻗﻌﻴﺔ ﻭﺍﻟﺼﺪﻕ ﰲ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ‪.‬‬
‫ﻭﺍﻟﻌﺎﻣﻞ ﺍﻟﺜﺎﱐ‪ :‬ﺃﻥﹼ ﺍﻟﻘﺼﺎﺹ ﻻ ﻳﻄﺮﺡ ﻗﻀﻴﺔ ﺑﺎﳌﻌﲎ ﺍﻟﺪﻗﻴﻖ‪ ،‬ﺇﳕﺎ ﻫﻮ ﻳﻄﺮﺡ ﺗﺼﻮﺭﺍﺕ‬
‫ﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﺳﻴﺎﺳﻴﺔ ﻣﻦ ﺧﻼﻝ ﺷﻌﻮﺭ ﻧﻔﺴﻲ ﻋﺎﻡ‪ ،‬ﻓﺈﻥ ﱂ ﻳﻜﻦ ﻣﻮﺿﻮﻋﻬﺎ ﺍﻓﺘﺮﺍﺿﻲ ‪ ،‬ﻓﺈﻥ ﺃﺣﺪﺍﺛﻬﺎ‬
‫ﻭﻭﻗﺎﺋﻌﻬﺎ ﺿﺮﺏ ﻣﻦ ﺍﳋﻴﺎﻝ ﻭﺍﻻﻓﺘﺮﺍﺽ ﺍﻟﻌﺠﻴﺐ ‪.‬‬
‫ﻣﻊ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﻫﺬﻩ ﺍﳌﻴﺰﺓ ﻻ ﺗﻨﻄﺒﻖ ﻋﻠﻰ ﻗﺼﺺ ﺍﻟﺴِﲑ ﺫﻟﻚ ﻷﻥ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻘﺼﺺ‬
‫ﺍﻟﺸﻌﱯ ﻳﻨﻄﻠﻖ ﻣﻦ ﺗﺎﺭﻳﺦ ﻣﻌﺮﻭﻑ‪.‬‬

‫)‪ (1‬ﺃﲪﺪ ﺯﻳﺎﺩ ﳏﺒﻚ‪ :‬ﳎﻠﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﻌﺪﺩ ‪ ،93‬ﺹ‪.172‬‬

‫)‪ (2‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﻣﻨﻄﻠﻘﺎﺕ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.15‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.16‬‬
‫‪- 34 -‬‬
‫ﺇﻥﹼ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻘﺼ‪‬ﺎﺹ ﺍﻟﺸﻌﱯ ﻟﻸﺳﺎﻃﲑ ﻭﺍﳋﺮﺍﻓﺎﺕ"ﻳﺴﺘﻬﺪﻑ ﺇﳚﺎﺩ ﻧﻮﻉ ﻣﻦ ﺍﻟﺘﻮﺍﺯﻥ‬
‫ﺍﻟﻨﻔﺴﻲ ﺑﲔ ﻭﺍﻗﻊ ﻣﺆﱂ ﺗﻌﻴﺸﻪ ﺍﻟﻄﺒﻘﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﺗﻌﺠﺰ ﻋﻦ ﺗﻐﻴﲑﻩ‪ ،‬ﻭﺑﲔ ﺗﺼﻮﺭ ﻣﺜﺎﱄ ﺗﺸﻌﺮ ﻓﻴﻪ‬
‫ﺍﻟﻄﺒﻘﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺎﻷﻣﻦ ﻭﺍﻻﻃﻤﺌﻨﺎﻥ‪،‬ﻭﳍﺬﺍ ﻳﻐﺪﻭ ﻣﻦ ﺍﻟﺼﻌﺐ ﺍﳉﺰﻡ ﺑﻮﺍﻗﻌﻴﺔ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻭ ﻋﺪﻡ‬
‫) ‪(1‬‬
‫ﻭﺍﻗﻌﻴﺘﻬﺎ "‪.‬‬
‫ﻓﺎﻟﻮﺍﻗﻌﻴﺔ ﰲ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺇﳕﺎ ﻫﻲ ﻭﺍﻗﻌﻴﺔ ﻧﻔﺴﻴﺔ ﻷ‪‬ﺎ ﲢﺎﻭﻝ ﺃﻥ ﺗﻌﺒ‪‬ﺮ ﻋﻦ ﺷﻌﻮﺭ ﻧﻔﺴﻲ ﻻ‬
‫ﳎﺎﻝ ﻹﻧﻜﺎﺭﻩ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﺍﻟﻘﺼﺎﺹ ﺍﻟﺸﻌﱯ ﻳﻠﺠﺄ ﺇﱃ ﺍﺳﺘﻌﻤﺎﻝ ﺻﻴﻎ‬
‫ﺍﻟﺘﻨﻜﲑ‪ ،‬ﻭﻋﺪﻡ ﺗﺴﻤﻴﺔ ﺍﻷﺷﺨﺎﺹ‪ ،‬ﻭﻋﺪﻡ ﲢﺪﻳﺪ ﺯﻣﺎﻥ ﻭﻣﻜﺎﻥ ﺍﻟﻘﺼﺔ ‪ ،‬ﻭﻳﺘﺠﻠﻰ ﺫﻟﻚ ﻣﻦ ﺧﻼﻝ‬
‫ﻣﺪﺧﻞ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ )ﻛﺎﻥ ﻳﺎ ﻣﻜﺎﻥ‪ ،(...‬ﻭﺗﺒﻌﺎ ﳍﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻟﻌﺎﻣﺔ ﳝﻜﻦ ﺍﻟﻘﻮﻝ ﺃﻥ "ﻧﺸﺄﺓ‬
‫) ‪(2‬‬
‫ﺍﻟﻘﺼﺔ ﻛﺎﻧﺖ ﻧﺸﺄﺓ ﺳﻴﺎﺳﻴﺔ"‪.‬‬
‫ﻓﺎﻟﻘﺼﺎﺹ ﺍﻟﺸﻌﱯ ﻛﺎﻥ ﻣﻌﺎﺭﺿﺎ ﻟﻠﺤﻜﻢ ﺍﻟﻘﺎﺋﻢ‪ ،‬ﻓﻴﺤﺎﻭﻝ ﺇﺧﻔﺎﺀ ﻣﻮﻗﻔﻪ ﺑﻘﻨﺎﻉ ﻣﻦ ﺍﻟﻮﻗﺎﻳﺔ‬
‫ﻭﺍﻟﺬﻱ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻜﻮﻥ ﳑﺰﻭﺟﺎ ﺑﺮﻭﺡ ﺩﻳﻨﻴﺔ ﺧﻔﻴﺔ‪.‬‬
‫ﻭﻳﺬﻫﺐ ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ ﺇﱃ ﺍﻻﻋﺘﻘﺎﺩ ﺑﺄﻥ "ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻟﻴﺲ ﺇﺑﺪﺍﻋ‪‬ﺎ ﲨﺎﻋﻴﺎ ﻛﻤﺎ ﻳﻌﺘﻘﺪ ﺑﻌﺾ‬
‫ﺍﻟﺪﺍﺭﺳﲔ‪ ،‬ﻭﺇﳕﺎ ﻇﻬﺮﺕ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﻳﺪ ﻓﺌﺔ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺇﺑﺪﺍﻉ ﻓﻦ ﻗﺼﺼﻲ ﲨﻴﻞ‪ ،‬ﰒ ﺗﺒﻨ‪‬ﺖ‬
‫) ‪(3‬‬
‫ﺍﳉﻤﺎﻫﲑ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻷﺩﺏ"‪.‬‬
‫ﻭﻗﺪ ﺳﺎﻋﺪ ﻋﻠﻰ ﺍﳊﺬﻑ ﻭﺍﻹﺿﺎﻓﺔ ﺃﻥﹼ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﱂ ﻳﻜﻦ ﻣﺪﻭ‪‬ﻧﺎ‪ ،‬ﻭﻣﻦ ﻫﻨﺎ ﳝﻜﻦ‬
‫ﺍﻟﻘﻮﻝ ﺃﻥ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﻨﻄﺒﻖ ﻋﻠﻰ ﺃﻱ ﻭﺿﻊ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﻻ ﺗ‪‬ﻌﺒ‪‬ﺮ ﻋﻦ ﻭﺿﻊ ﻣﻌﻴ‪‬ﻦ ‪.‬‬
‫"ﻭﺭﲟﺎ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻨﻈﺮﺓ ﺍﻟﺸﺎﻣﻠﺔ ﻟﻘﻀﺎﻳﺎ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺣﻴﺚ ﻫﻮ ﺇﻧﺴﺎﻥ ﻣﻦ ﺃﻫﻢ‪ ‬ﻣﺎ ﳝﻴ‪‬ﺰ ﺃﻫﺪﺍﻑ‬
‫) ‪(4‬‬
‫ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ "‪.‬‬
‫ﺇﺫﺍ ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻧﻄﻼﻗﺘﻬﺎ ﺍﻷﻭﱃ ﻛﺎﻧﺖ ﻧﻔﺴﻴﺔ‪ ،‬ﺗﻌﺒ‪‬ﺮ ﻋﻦ ﳘﻮﻡ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺴﻴﺎﺳﻴﺔ‬
‫ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭﻣﺎ ﻳ‪‬ﻌﺎﻧﻴﻪ ﻣﻦ ﻭﻳﻼﺕ ﺍﻟﻈﻠﻢ ﻭﺍﻟﻔﻘﺮ ﻭ ﺍﻻﺿﻄﻬﺎﺩ‪ ،‬ﳏﺎﻭﻻ ﺑﺬﻟﻚ ﺍﻟﺘﺨﻠﺺ ﻣﻦ ﻫﺬﻩ‬
‫ﺍﳌﻌﺎﻧﺎﺓ ﻣﺘﺴﺘ‪‬ﺮ‪‬ﺍ ﺑﻘﻨﺎﻉ ﺍﳊﻜﺎﻳﺎﺕ‪ ،‬ﰲ ﻗﺎﻟﺐ ﲨﻴﻞ ﻭﺑﺄﺳﻠﻮﺏ ﻓﻨ‪‬ﻲ ﺃﲨﻞ‪.‬‬

‫)‪ (1‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.17‬‬

‫)‪ (2‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.17‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.17‬‬
‫)‪ (4‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.18‬‬
‫‪- 35 -‬‬
 ‫ﺳﺎﺑﻌﺎ ‪-‬اﻟﺤﻜﺎﻳﺔ اﻟﺸّﻌﺒﻴﺔ اﻟﺠﺰاﺋﺮﻳﺔ ‪:‬‬
‫ﺇﻥﹼ ﻟﻸﺩﺏ ﺍﻟﺸﻌﱯ ﺃﳘﻴﺔ ﺑﺎﻟﻐﺔ ﰲ ﺣﻴﺎﺓ ﺃﻱ‪ ‬ﺃﻣ‪‬ﺔ ﻣﻦ ﺍﻷﻣﻢ‪ ،‬ﻷﻧﻪ ﺟﺰﺀ ﻣﻦ ﺗﺎﺭﳜﻬﺎ ﺇﻥ ﱂ ﻧﻘﻞ‬
‫ﻫﻮ ﺍﻟﺘﺎﺭﻳﺦ ﺑﻌﻴﻨﻪ‪ ،‬ﻓﻮﻗﺎﺋﻊ ﺍﻟﺘﺎﺭﻳﺦ ﺍﳍﺎﻣ‪‬ﺔ‪ ،‬ﻭﺣﻮﺍﺩﺛﻪ ﺍﳌﺘﺸﻌﺒﺔ‪ ،‬ﻫﻲ ﻣﻦ ﺍﻫﺘﻤﺎﻣﺎﺕ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‬
‫ﺍﻟﺬﻱ ﳛﻀﻰ ﺑﺘﺴﺠﻴﻠﻬﺎ ‪.‬‬
‫ﻭﺍﳌﺘﺘﺒﻊ ﻟﻸﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ ﳚﺪﻩ ﺛﺮﻳ‪‬ﺎ‪ ،‬ﻷﻥﹼ ﻓﻨﻮﻧﻪ ﻛﺜﲑﺓ ﻭﻣﺘﻌﺪﺩﺓ ﰲ ﺣﲔ ﺍﻻﻫﺘﻤﺎﻡ ‪‬ﺎ‬
‫ﻗﻠﻴﻞ‪ ،‬ﻟﻜﻦ ﻭﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺫﻟﻚ "ﻇﻠﺖ ﺃﺷﻜﺎﻝ ﺍﻟﺘ‪‬ﻌﺒﲑ ﺍﻷﺩﰊ ﺍﻟﺸﻌﺒﻴﺔ ﲤﺜﻞ ﺍﻹﻣﻜﺎﻧﻴﺔ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ‬
‫ﺍﺳﺘﺨﺪﻣﻬﺎ ﺍ‪‬ﺘﻤﻊ ﺍﳉﺰﺍﺋﺮﻱ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻭﺍﻗﻌﻪ ﺍﳌﺒﺎﺷﺮ ﺑﺼﻔﺔ ﻋﺎﻣ‪‬ﺔ‪ ،‬ﻭﻋﻦ ﺗﻄﹼﻮﺭ ﺍﻟﻮﻋﻲ ﺍﻟﻮﻃﲏ ﰲ‬
‫ﳐﺘﻠﻒ ﻣﺮﺍﺣﻠﻪ‪ ،‬ﺑﺼﻔﺔ ﺧﺎﺻﺔ‪ ،‬ﺳﻮﺍﺀ‪ ،‬ﻭﻫﻮ ﰲ ﻣﺮﺣﻠﺘﻪ ﺍﳉﻨﻴﻨﻴﺔ‪ ،‬ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ‪ ،‬ﺃﻭ ﻭﻫﻮ‬
‫) ‪(1‬‬
‫ﻳﺘﺸﻜﻞ ﻭﺗﻨﻀﺞ ﺣﺪﻭﺩﻩ ﻣﻨﺬ ﺑﺪﺍﻳﺔ ﻫﺬﺍ ﺍﻟﻘﺮﻥ‪." ...‬‬
‫ﻓﺎﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ ‪‬ﺬﻩ ﺍﻟﺼﻮﺭﺓ ﻳﻜﻮﻥ ﻗﺪ ﻟﻌﺐ ﺩﻭﺭﺍ ﺑﺎﺭﺯﺍ ﰲ ﺣﻴﺎﺓ ﺍﳉﺰﺍﺋﺮﻳﲔ‬
‫ﻗﺪﳝﺎ‪ ،‬ﺧﺎﺻﺔ ﻣﺎ ﺗﻌﻠﻖ ﻣﻨﻪ ﺑﺎﻟﻘﻀﻴﺔ ﺍﻟﻮﻃﻨﻴﺔ‪ ،‬ﺣﻴﺚ ﺍﻫﺘﻢ ﺑﺘﺴﺠﻴﻞ ﺃﺣﺪﺍﺛﻬﺎ‪ ،‬ﻭﲢﺮﻳﺾ ﺍﻟﺸﻌﺐ ﻋﻠﻰ‬
‫ﻣﻘﺎﻭﻣﺔ ﺍﶈﺘﻞ ﻭﺍﻟﺼﻤﻮﺩ ﰲ ﻭﺟﻪ ﲢﺪﻳﺎﺗﻪ‪.‬‬
‫ﻛﻤﺎ ﺍﻫﺘﻢ ﺑﻨﻘﺪ ﺍ‪‬ﺘﻤﻊ ﺍﳉﺰﺍﺋﺮﻱ ﺑﻐﻴﺔ ﺇﺻﻼﺡ ﺣﺎﻟﻪ ﻣﻦ ﺧﻼﻝ ﺗﺼﻮﻳﺮ ﻭﺍﻗﻌﻪ ﺍﳌﺰﺭﻱ‬
‫ﻭﺍﻟﻜﺸﻒ ﻋﻦ ﺳﻠﺒﻴﺎﺗﻪ‪ ،‬ﻭﺃﻭﺟﻪ ﺍﻟﻨﻘﺺ ﻓﻴﻪ‪" ،‬ﻷﻥ ﺍﳋﻄﺎﺏ ﺍﻷﺩﰊ ﺍﻟﺸﻔﻮﻱ ﻛﺬﺍﻛﺮﺓ ﺗﺎﺭﳜﻴﺔ ﻻ‬
‫ﻳﻜﺘﻔﻲ ﺑﻨﻘﻞ ﺍﳌﻌﻠﻮﻣﺎﺕ‪ ،‬ﺇﳕﺎ ﻳﻌﻤﻞ ﻋﻠﻰ ﺇﻧﺘﺎﺝ ﻭﻗﺎﺋﻊ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﺣﺎﻻﺕ ﻧﻔﺴﻴﺔ ﺟﺪﻳﺪﺓ ﺑﺎﻋﺘﺒﺎﺭﻩ‬
‫) ‪(2‬‬
‫ﻋﻨﺼﺮﺍ ﻣﻦ ﻋﻨﺎﺻﺮ ﺍﻹﻳﺪﻳﻮﻟﻮﺟﻴﺔ"‪.‬‬
‫ﻟﻘﺪ ﻋﺮﻓﺖ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺃﺩﺑﺎ ﻗﺼﺼﻴﺎ ﳑﻴﺰﺍ‪ ،‬ﳑﺜﻼ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﻫﻲ‬
‫ﻋﺒﺎﺭﺓ ﻋﻦ " ﺃﺛﺮ ﻗﺼﺼﻲ ﻳﻨﺘﻘﻞ ﻣﺸﺎﻓﻬﺔ ﺃﺳﺎﺳﺎ‪ ،‬ﻳﻜﻮﻥ ﻧﺜﺮﻳﺎ ﻳﺮﻭﻱ ﺃﺣﺪﺍﺙ ﺧﻴﺎﻟﻴﺔ ﻻ ﻳﻌﺘﻘﺪ ﺭﺍﻭﻳﻬﺎ‬
‫ﻭ ﻣﺘﻠﻘﻴﻬﺎ ﰲ ﺣﺪﻭﺛﻬﺎ ﺍﻟﻔﻌﻠﻲ‪ ،‬ﺗﻨﺴﺐ ﻋﺎﺩﺓ ﻟﺒﺸﺮ ﻭﺣﻴﻮﺍﻧﺎﺕ ﻭ ﻛﺎﺋﻨﺎﺕ ﺧﺎﺭﻗﺔ‪ ،‬ﺪﻑ ﺇﱃ ﺍﻟﺘﺴﻠﻴﺔ‬
‫) ‪(3‬‬
‫ﻭ ﺗﺰﺟﻴﺔ ﺍﻟﻮﻗﺖ ﻭﺍﻟﻌﱪﺓ‪.‬‬

‫)‪(1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﺒﻄﻞ ﺍﳌﻠﺤﻤﻲ ﻭﺍﻟﺒﻄﻞ ﺍﻟﻀﺤﻴﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻔﻮﻱ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺩﺭﺍﺳﺎﺕ ﺣﻮﻝ ﺧﻄﺎﺏ ﺍﳌﺮﻭﻳﺎﺕ ﺍﻟﺸﻔﻮﻳﺔ‪ ،‬ﺍﻷﺩﺍﺀ‪ ،‬ﺍﻟﺸﻜﻞ‪،‬‬
‫ﺍﻟﺪﻻﻟﺔ‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺑﻦ ﻋﻜﻨﻮﻥ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ‪.‬ﻁ(‪1998 ،‬ﻡ‪ ،‬ﺹ‪.21-20‬‬
‫)‪(2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺹ‪23‬‬
‫)‪ (3‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.185‬‬
‫‪- 36 -‬‬
‫ﻓﺎﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻋﺮﻓﺖ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻣﻨﺬ ﻋﻬﺪ ﻣﺒﻜﺮ‪ ،‬ﺃﻳﻦ‬
‫ﻣﺜﹼﻞ ﺍﻻﺣﺘﻼﻝ ﺍﻟﻔﺮﻧﺴﻲ ﻟﻠﺒﻼﺩ ﻭﺍﺣﺪﺍ ﻣﻦ ﺃﻫﻢ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﱵ ﺃﺩﺕ ﺇﱃ ﺭﻭﺍﺝ ﻓﻦ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪،‬‬
‫ﺃﺿﻒ ﺇﱃ ﺫﻟﻚ ﻣﺎ ﺍﳒﺮ ﻋﻦ ﻫﺬﺍ ﺍﻻﺣﺘﻼﻝ ﻣﻦ ﻫﻴﻤﻨﺔ ﺳﻴﺎﺳﻴﺔ ﻭ ﺟﻮﺭ ﺍﺟﺘﻤﺎﻋﻲ‪.‬‬
‫ﻓﻜﻞ ﻫﺬﻩ ﺍﻟﻌﻮﺍﻣﻞ ﳎﺘﻤﻌﺔ ﺟﻌﻠﺖ ﻣﻦ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻭﺳﻴﻠﺔ ﻫﺎﻣﺔ ﻣﻦ ﻭﺳﺎﺋﻞ‬
‫ﺍﻟﺘﺨﻔﻴﻒ ﻋﻦ ﺍﳌﻜﺒﻮﺗﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪.‬‬
‫ﻭﻣﻦ ﺍﳌﻼﺣﻆ ﺃﻥ ﺃﻫﻢ ﺍﻟﺪﻭﺍﻓﻊ ﺍﻟﱵ ﺳﺎﻋﺪﺕ ﻋﻠﻰ ﺇﺷﺎﻋﺔ ﺗﻠﻚ ﺍﻟﻘﺼﺺ ﺩﻭﺍﻓﻊ ﺍﺟﺘﻤﺎﻋﻴﺔ‬
‫ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ‪" ،‬ﺣﻴﺚ ﻋﺎﺷﺖ ﺍﻷﻭﺳﺎﻁ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻣﺄﺳﺎﺓ ﺗﺎﺭﳜﻴﺔ ﻃﻮﻳﻠﺔ ﻫﺪﻣﺖ ﺃﻭﺿﺎﻉ ﺍﻟﺒﻼﺩ‬
‫ﺑﺄﲨﻌﻬﺎ ﻭﻛﺎﻥ ﺗﺄﺛﲑﻫﺎ ﺍﻟﻌﻤﻴﻖ ﰲ ﺍﳌﻴﺪﺍﻥ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻗﻮﻳﺎ ﻭﺧﺎﺻﺔ ﰲ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﻧﻔﺴﻬﺎ‪...‬ﻓﺎﻟﺘﺠﺄﺕ ﺇﱃ ﺭﻭﺍﺝ ﺍﻟﻘﺼﺔ ﳌﺎ ﻛﺎﻧﺖ ﲡﺪ ﻓﻴﻬﺎ ﻣﻦ ﺗﻌﻮﻳﺾ ﻭﺗﻌﺪﻳﻞ ﻭﺳﻼﺡ ﻟﻠﻤﺤﺎﻓﻈﺔ‬
‫) ‪(1‬‬
‫ﻋﻠﻰ ﺷﺨﺼﻴﺘﻬﺎ ﻭﺍﻟﺪﻓﺎﻉ ﻋﻦ ﺇﺑﻘﺎﺀ ﻛﻴﺎ‪‬ﺎ ﺍﳌﻬﺪﺩ"‪.‬‬
‫ﻛﻤﺎ ﺗﺬﻫﺐ ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ)‪ ،(2‬ﻭﻫﻲ ﺑﺼﺪﺩ ﺍﳊﺪﻳﺚ ﻋﻦ ﻧﺸﺄﺓ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﰲ ﺍﳌﻐﺮﺏ ﺇﱃ ﺃﻥ ﺍﻟﺒﺎﺣﺚ ﰲ ﻧﺸﺄ‪‬ﺎ ﺳﺘﻮﺍﺟﻬﻪ ﺻﻌﻮﺑﺎﺕ ﻛﺒﲑﺓ ﰲ ﲢﺪﻳﺪ ﺯﻣﺎﻥ ﺩﺧﻮﳍﺎ ﳍﺬﻩ‬
‫ﺍﳌﻨﻄﻘﺔ‪.‬‬
‫ﻭﺫﻟﻚ ﻟﻘﻠﺔ ﺍﻟﻮﺛﺎﺋﻖ ﺍﻟﺪﻗﻴﻘﺔ ﺍﻟﱵ ﲢﺪ‪‬ﺩ ﺑﺎﻟﻀﺒﻂ ﻣﱴ ﺩﺧﻠﺖ ﺇﱃ ﺍﳌﻐﺮﺏ‪ ،‬ﺿﻒ ﺇﱃ ﺫﻟﻚ‬
‫ﻃﺒﻴﻌﺔ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻧﻔﺴﻬﺎ؛ ﺇﺫ ﻫﻲ ﺗﻌﺒﲑ ﺷﻔﻬﻲ ﳎﻬﻮﻝ ﺍﳌﺆﻟﻒ‪.‬‬
‫ﻛﻤﺎ ﺍﺟﺘﻬﺪﺕ ﺭﻭﺯﻟﲔ ﰲ ﻭﺿﻊ ﺇﻃﺎﺭ ﺯﻣﲏ ﻟﻠﻘﺼﺔ‪ ،‬ﺣﺪﺩﺕ ﻣﻦ ﺧﻼﻟﻪ ﺯﻣﺎﻥ ﺩﺧﻮﳍﺎ ﺑﻼﺩ‬
‫ﺍﳌﻐﺮﺏ‪ ،‬ﻭﻫﻮ ﺯﻣﺎﻥ ﺍﻟﻔﺘﻮﺣﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﱵ ﻏﲑﺕ ﻭﺟﻪ ﺍﳊﻴﺎﺓ ﻷﻗﻄﺎﺭ ﺍﳌﻐﺮﺏ ﺗﻐﻴﲑﺍ ﻭﺍﺿﺤﺎ‬
‫"ﻭﻫﻜﺬﺍ ﻓﺈﻧﻪ ﳝﻜﻦ ﻟﻠﺒﺎﺣﺚ ﺃﻥ ﻳﻘﺮ‪‬ﺭ ﺑﺄﻥ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻗﺪ ﺩﺧﻠﺖ ﺇﱃ ﺍﳌﻐﺮﺏ ﻧﺘﻴﺠﺔ ﻟﻠﻔﺘﻮﺣﺎﺕ‬
‫) ‪(3‬‬
‫ﺍﻟﻌﺮﺑﻴﺔ"‪.‬‬
‫ﻭﺑﺎﻋﺘﺒﺎﺭ ﺍﳉﺰﺍﺋﺮ ﻭﺍﺣﺪﺓ ﻣﻦ ﺑﻠﺪﺍﻥ ﺍﳌﻐﺮﺏ ﺍﻟﻌﺮﰊ‪ ،‬ﻓﺈﻥ ﺍﻷﻣﺮ ﻧﻔﺴﻪ ﳝﺲ‪ ‬ﻗﺼﺼﻬﺎ ﺍﻟﺸﻌﱯ‬
‫ﻭﺯﻣﺎﻥ ﻧﺸﺄﺗﻪ ‪.‬‬
‫ﻋﻤﻮﻣﺎ‪ ،‬ﻓﺈﻥﹼ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳉﺰﺍﺋﺮ ﺗﺘﻤﻴﺰ "ﺑﺎﻧﺘﻬﺎﺝ ﺧﻂ ﻋﺎﻡ ﺗﺘﻤﺜﻞ ﻓﻴﻪ ﺭﺅﻳﺔ ﺇﻧﺴﺎﻧﻴﺔ‬
‫) ‪(4‬‬
‫ﺗﻌﱪ ﻋﻦ ﺣﺎﻻﺕ ﻧﻔﺴﻴﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﺛﻘﺎﻓﻴﺔ ﺗﺸﺘﺮﻙ ﻓﻴﻬﺎ ﻛﻞ ﺍﻟﺸﻌﻮﺏ ﺑﺼﻮﺭﺓ ﻣﻦ ﺍﻟﺼﻮﺭ"‪.‬‬

‫)‪ (1‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ‪.‬ﻁ(‪2007 ،‬ﻡ‪ ،‬ﺹ‪.204‬‬
‫)‪ (2‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ ‪:‬ﺹ‪.39‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.39‬‬
‫)‪ (4‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﻣﻨﻄﻠﻘﺎﺕ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺹ‪.15‬‬
‫‪- 37 -‬‬
‫ﻛﻤﺎ ﺃﻥ ﺍﻫﺘﻤﺎﻡ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻛﺎﻥ ﻣﻨﺼﺒﺎ ﺃﺳﺎﺳﺎ ﻋﻠﻰ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻟﺬﻟﻚ‬
‫ﳝﻜﻦ ﺍﳊﻜﻢ ﻋﻠﻴﻬﺎ ﺑﺎﻟﻮﺍﻗﻌﻴﺔ "ﻷ‪‬ﺎ ﺗﺴﺘﻬﺪﻑ ﺳﻌﺎﺩﺓ ﺍﻹﻧﺴﺎﻥ ﻭﻏﺮﺱ ﺍﻟﻘﻴﻢ ﺍﻟﻨﺒﻴﻠﺔ ﰲ ﻋﺎﱂ ﻳﻄﺤﻨﻪ‬
‫ﺍﻟﻈﻠﻢ ﻭﺍﻟﻘﻬﺮ ﻭﺍﳊﺮﻣﺎﻥ")‪.(1‬‬
‫ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﳒﺪ ﺭﻏﺒﺎﺕ ﺍﻟﺰﻭﺍﺝ‪ ،‬ﻭﻣﺸﺎﻛﻞ ﺍﻟﻌﻨﻮﺳﺔ‪ ،‬ﻭﺍﻟﻔﻘﺮ‪ ،‬ﻭ ﺍﻟﻐﲎ ﺍﻟﻔﺎﺣﺶ‬
‫ﻭﺍﻟﻈﻠﻢ ﻭﺍﻟﻘﻬﺮ ﻭﺍﻟﺮﻏﺒﺔ ﰲ ﺍﻟﺘﻤﻠﻚ ﻭﺍﻟﺴﻴﻄﺮﺓ‪ ...‬ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ‪،‬ﻣﺜﹼﻠﺖ ﻟﻠﻘﺼﺎﺹ ﺍﳉﺰﺍﺋﺮﻱ‬
‫ﻣﻨﻄﻠﻘﺎﺕ ﻫﺎﻣﺔ ﺍﺳﺘﻄﺎﻉ ﻣﻦ ﺧﻼﳍﺎ ﺃﻥ ﻳﺒﲏ ﻗﺼﺼﻪ ﺍﻟﺸﻌﱯ ﻭﻳﻨﻮﻉ ﰲ ﻣﻮﺿﻮﻋﺎﺗﻪ ﺍﻟﱵ ﺗﺘﻨﺎﺳﺐ‬
‫ﻭﺍﻟﻮﺍﻗﻊ ﺍﻟﻨﻔﺴﻲ ﻭﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﺴﻴﺎﺳﻲ ﺍﻟﺬﻱ ﳛﻴﺎﻩ "ﻭﻫﻜﺬﺍ ﻧﻼﺣﻆ ﺃﻥ ﻟﻠﺪﺍﻓﻊ ﺍﻟﺴﻴﺎﺳﻲ‬
‫ﻭﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻷﺛﺮ ﺍﻟﻘﻮﻱ ﻭﺍﻟﺒﻌﻴﺪ ﺍﳌﺪﻯ ﰲ ﺣﺚ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﺭﻭﺍﺝ ﺃﺩﺏ ﺷﻔﻮﻱ ﻗﺪ‬
‫ﻋﺮﻓﺘﻪ ﺍﻟﺸﻌﻮﺏ ﰲ ﻭﻗﺖ ﺍﻟﻘﻤﻊ ﺍﻟﺴﻴﺎﺳﻲ ﻭ ﺍﻟﺘﻌﺴﻒ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻟﺬﻱ ﻇﻬﺮ ﰲ ﺗﺎﺭﻳﺦ ﺍﻟﻌﺎﱂ" )‪.(2‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺃﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻣﺼﺎﺩﺭﻫﺎ ﻛﺜﲑﺓ ﻭ ﻣﺘﻨﻮﻋﺔ ﻳﺄﰐ ﰲ‬
‫ﻣﻘﺪﻣﺘﻬﺎ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻌﺎﺵ‪ ،‬ﻳﻀﺎﻑ ﺇﻟﻴﻪ ﺍﻷﻣﺜﺎﻝ ﺍﻟﺸﻌﺒﻴﺔ ﻭ ﺣﻜﺎﻳﺎﺕ ﺃﻟﻒ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ ﻭ ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ‪،‬‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﻟﺴﲑ ﻭﺍﳌﻼﺣﻢ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﺸﻬﻮﺭﺓ‪،‬ﻛﺴﲑﺓ ﺳﻴﻒ ﺑﻦ ﺫﻱ ﻳﺰﻥ‪ ،‬ﻭﺳﲑﺓ ﻋﻨﺘﺮﺓ‬
‫ﺑﻦ ﺷﺪﺍﺩ ﻭﺳﲑﺓ ﺑﲏ ﻫﻼﻝ ﺫﺍﺕ ﺍﳉﺬﻭﺭ ﺍﻟﻌﻤﻴﻘﺔ ﰲ ﺍﻟﻮﻃﻦ ﺍﻟﻌﺮﰊ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﻟﻜﺘﺐ ﺍﳌﺪﻭﻧﺔ‬
‫ﻛﻜﺘﺐ ﺍﺑﻦ ﺑﻄﻮﻃﺔ ﺍﻟﱵ ﺣﻮﺕ ﺭﺣﻼﺗﻪ ﺇﱃ ﳐﺘﻠﻒ ﺍﻟﺒﻘﺎﻉ ﺣﻴﺚ ﺳﺠﻞ ﻣﻦ ﺧﻼﳍﺎ ﺭﻭﺍﻳﺎﺕ‬
‫ﻭﻗﺼﺺ ﻛﺎﻧﺖ ﻣﻨﺘﺸﺮﺓ ﺑﲔ ﺍﻟﻨﺎﺱ‪ ،‬ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ ﺗﺼﻞ ﺇﱃ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻭ ﺗﺘﺤﻠﻞ‬
‫ﻓﻴﻬﺎ‪.‬‬
‫ﺇﻥﹼ ﻫﺬﺍ ﺍﻟﺘﻨﻮﻉ ﺍﻟﻼﳏﺪﻭﺩ ﰲ ﻣﺼﺎﺩﺭ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ‪ ،‬ﻳﻌﻜﺲ ﺍﻟﺜﺮﺍﺀ ﺍﻟﺜﻘﺎﰲ‬
‫ﻹﻧﺴﺎ‪‬ﺎ ﺍﻟﺸﻌﱯ ﺍﻟﺬﻱ ﺣﺎﻭﻝ ﺃﻥ ﻳﻨﻬﻞ ﻣﻦ ﻛﻞ ﺍﳌﺼﺎﺩﺭ ﺍﳌﻌﺮﻓﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳ‪‬ﻨﺸﺄ ﻟﻨﻔﺴﻪ‬
‫ﺇﺑﺪﺍﻋﺎ ﺃﺩﺑﻴﺎ ﺷﻌﺒﻴﺎ ﳑﺜﻼ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭ ﻳﺘﺒﻨﺎﻩ ﺣﱴ ﻭﺇﻥ ﻛﺎﻧﺖ ﺍﻟﺒﺴﺎﻃﺔ ﻭﺍﻟﻌﺎﻣﻴﺔ ﲤﻴ‪‬ﺰﺍﻧﻪ ﻓﺈﻥﹼ‬
‫ﺗﺄﺛﲑﻩ ﻛﺎﻥ ﻋﻤﻴﻘﺎ ﰲ ﺗﺮﺑﻴﺔ ﺍﻷﺟﻴﺎﻝ ﺍﻟﻨﺎﺷﺌﺔ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺈﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﱂ ﺗﻜﻦ ﺳﻮﻯ ﺭﻣﺰ ﻣﻦ ﺭﻣﻮﺯ ﻛﺜﲑﺓ ﻫﻲ ﻋﻨﻮﺍﻥ‬
‫ﻟﺜﻘﺎﻓﺘﻨﺎ ﻭ ﺣﻀﺎﺭﺗﻨﺎ ﻭ ﺗﺎﺭﳜﻨﺎ ﺃﻳﻀﺎ‪.‬‬

‫)‪ (1‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪.15‬‬

‫)‪ (2‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪.202‬‬
‫‪- 38 -‬‬
 ‫اﻟﻔﺻل اﻷول‬
‫ﺑﯾﺋﺔ اﻟﺣﻛﻲ اﻟﺷﻌﺑﻲ‬
‫‪‬‬

‫أوﻻ ‪ -‬اﻹطﺎر اﻟﺟﻐراﻓﻲ ﻟﻣﻧطﻘﺔ اﻟﻣﺳﯾﻠﺔ‪.‬‬

‫ﺛﺎﻧﯾﺎ ‪ -‬اﻹطﺎر اﻟﺗ ّﺎرﯾﺧﻲ ﻟﻠﻣﻧطﻘﺔ ‪.‬‬
‫ﺛﺎﻟﺛﺎ ‪ -‬اﻹطﺎر اﻟﻔوﻟﻛﻠوري ﻟﻠﻣﻧطﻘﺔ ‪.‬‬

‫‪- 39 -‬‬
 ‫أوﻻ ‪ -‬اﻹﻃﺎر اﻟﺠﻐﺮاﻓﻲ ﻟﻤﻨﻄﻘﺔ اﻟﻤﺴﻴﻠﺔ‬
‫‪ -1‬ﺍﻟﺘﺴﻤﻴﺔ ‪:‬‬
‫ﻗﺒﻞ ﺃﻥ ﻧﻠﺞ ﺇﱃ ﻣﺎ ﻳ‪‬ﺴﻤ‪‬ﻰ ﺑﺎﳌﻮﻗﻊ ﺍﳉﹸﻐﺮﺍﰲ ﳌﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻻﺑﺪ ﻟﻨﺎ ﻣﻦ ﺍﻟﻮﻗﻮﻑ ﻋﻨﺪ‬
‫ﺍﻟﺘ‪‬ﺴﻤﻴﺔ‪ -‬ﺍﳌﺴﻴﻠﺔ‪ -‬ﰲ ﺣﺪ‪ ‬ﺫﺍ‪‬ﺎ ﻭﳏﺎﻭﻟﺔ ﻣﻌﺮﻓﺔ ﻣﻌﻨﺎﻫﺎ ‪.‬‬
‫) ‪(1‬‬
‫ﺍﳌﺴﻴﻠﺔ ‪ :‬ﺑﺎﻟﻔﺘﺢ ﰒ ﺍﻟﻜﺴﺮ ﻭﺍﻟﻴﺎﺀ ﺳﺎﻛﻨﺔ ﻭﻻﻡ‪ ،‬ﻣﺪﻳﻨﺔ ﺑﺎﳌﻐﺮﺏ ﺗ‪‬ﺴﻤ‪‬ﻰ ﺍﶈﻤ‪‬ﺪﻳﺔ‬
‫ﻭﺍﳌﺮﺟ‪‬ﺢ ﺃﻥﹼ ﻣﺼﻄﻠﺢ ﺍﳌﺴﻴﻠﺔ ﻣﺄﺧﻮﺫ ﻣﻦ ﺳﻴﻞ ﺍﳌﺎﺀ‪.‬‬
‫ﻳ‪‬ﻘﺎﻝ‪ :‬ﺳﺎﻝ ﺍﳌﺎﺀُ‪ ،‬ﻭﺍﻟﺸﻲﺀ ﺳﻴﻼﹰ ﻭﺳﻴﻼﻧﺎ‪ ،‬ﻭﺍﻟﺴ‪‬ﻴﻞ ﻣﻌﺮﻭﻑ ﻭﺍﳉﻤﻊ ﺳﻴ‪‬ﻮﻝ‪ ،‬ﻭﺳﻴﻞ ﺍﳌﺎﺀ ﻭﲨﻌ‪‬ﻪ‬
‫ﺃﻣﺴﻠﺔﹲ‪ ،‬ﻭﻫﻲ ﻣﻴﺎﺩﺓ ﺍﻷﻣﻄﺎﺭ‪.‬‬
‫) ‪(2‬‬
‫ﻭﻳﻜﻮﻥ ﺍﳌﺴﻴﻞﹸ ﺃﻳﻀ‪‬ﺎ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﻳﺴﻴﻞ ﻓﻴﻪ ﻣﺎﺀ ﺍﻟﺴ‪‬ﻴﻞ ﻭﺍﳉﻤﻊ ﻣﺴﺎﻳﻞ‪ُ.‬‬
‫ﻭﻋﻠﻴﻪ‪:‬‬
‫) ‪(3‬‬
‫ﻓﺈﻥﹼ ﺗﺴﻤﻴﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺗﻨﺴﺐ ﺇﱃ ﻛﻠﻤﺔ ﺍﳌﺴﻴﻞ ﺃﻭ ﺑﻠﺪﻳﺔ ﺍﳌﻴﺎﻩ ﺍﻟﺴﺎﺋﻠﺔ‪.‬‬
‫ﻭﻗﺪ ﺃﹸﳊﻘﺖ ﻫﺬﻩ ﺍﻟﺘ‪‬ﺴﻤﻴﺔ ﺑﺎﳌﻨﻄﻘﺔ ﻭﺍﺭﺗﺒﻄﺖ ‪‬ﺎ ﺍﺭﺗﺒﺎﻃﺎ ﻭﺛﻴﻘﹰﺎ‪ ،‬ﻟﺴﺒﺐ ﻭﺍﺣﺪ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ‬
‫ﺟﺪ ﻫﺎﻡ‪ ،‬ﻣ‪‬ﺘ‪‬ﻌ‪‬ﻠﻖ‪" ‬ﺑﻮﻓﺮﺓ ﻭﺗﻌﺪ‪‬ﺩ ﺍ‪‬ﺎﺭﻱ ﺍﳌﺎﺋﻴﺔ ﺍﻟﱵ ﺗﺘﻤﺘﻊ ‪‬ﺎ ﺍﳌﻨﻄﻘﺔ ﻣﻨﺬ ﻓﺘﺮﺍﺕ ﻗﺪﳝﺔ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ‬
‫ﻭﺍﻟﱵ ﺗﻌﺒ‪‬ﺮ ﻋﻦ ﻭﺟﻮﺩﻫﺎ ﺑﻘﺎﻳﺎ ﺍﻵﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍ‪‬ﺴ‪‬ﺪﺓ ﰲ ﺍﻟﺴﺪﻭﺩ ﻭﻗﻨﻮﺍﺕ ﺍﳌﻴﺎﻩ ﻭﺍﻷﺣﻮﺍﺽ‬
‫ﺍﳌﺨﺼﺼﺔ ﻟﻠﺴﻘﻲ ﺍﳌﻮﺿﻮﻋﺔ ﻋﻠﻰ ﺍﻷﻭﺩﻳﺔ ﻭﺍﻟﺴ‪‬ﻮﺍﻗﻲ ﻛﻮﺍﺩﻱ ﺍﻟﻘﺼﺐ ﻭﻭﺍﺩﻱ ﻟﻘﻤﺎﻥ ﻭﻭﺍﺩﻱ ﺍﻟﻠﺤﻢ‬
‫) ‪(4‬‬
‫ﻭﻭﺍﺩﻱ ﺳﻠﻤﺎﻥ"‪.‬‬
‫ﺇﺫﺍ ﻓﺨﻼﺻﺔ ﺍﻟﺘﺘﺒ‪‬ﻊ ﺍﻟﻠﻐﻮﻱ ﳌﺼﻄﻠﺢ ﺍﳌﺴﻴﻠﺔ ﺗﻌﻜﺲ ﻟﻨﺎ ﺃﻣﺮ‪‬ﺍ ﻣﻨﻄﻘﻴﺎ ﲡﺴ‪‬ﺪﻩ ﺍﻟﻨﺘﻴﺠﺔ ﺍﻟﺘ‪‬ﺎﻟﻴﺔ ‪:‬‬
‫ﺍﳌﺴﻴﻠﺔ = ﻣﺪﻳﻨﺔ ﺍﳊﻴﺎﺓ ‪.‬‬
‫ﻛﻴﻒ ﻻ ؟ ﻭﺍﳊﻴﺎﺓ ﺃﺳﺎﺳﻬﺎ ﺍﳌﺎﺀ ﺍﻟﺬﻱ ﺟ‪‬ﻌ‪‬ﻞ ﻣﻨﻪ ﺍﳋﺎﻟﻖ ﻛﻞﹼ ﺷﻲﺀ ﺣﻴ‪‬ﺎ ‪.‬‬

‫)‪ (1‬ﻳﺎﻗﻮﺕ ﺍﳊﻤﻮﻱ‪ :‬ﻣﻌﺠﻢ ﺍﻟﺒﻠﺪﺍﻥ‪ ،‬ﺩﺍﺭ ﺑﲑﻭﺕ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺑﲑﻭﺕ‪)،‬ﺩ‪.‬ﻁ(‪1404 ،‬ﻫـ‪1984/‬ﻡ‪ ،‬ﻣﺞ‪، 5‬ﺹ‪.130‬‬
‫)‪ (2‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﻣﺞ ‪ ،11‬ﺹ‪.419‬‬
‫)‪ (3‬ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ﺍﳌﺨﺘﻠﻄﺔ)ﺩﺭﺍﺳﺔ ﺍﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ ﺑﲔ ‪1945-1884‬ﻡ( ‪،‬ﺇﺷﺮﺍﻑ ﺣﺪ‪‬ﺍﺩ ﻣﺼﻄﻔﻰ‪ ،‬ﺭﺳﺎﻟﺔ ﻣﺎﺟﺴﺘﲑ ﻏﲑ‬
‫ﻣﻨﺸﻮﺭﺓ ﻛﻠﻴﺔ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻣﻌﻬﺪ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﺟﺎﻣﻌﺔ ﻗﺴﻨﻄﻴﻨﺔ‪2006 ،‬ﻡ ‪،‬ﺹ‪.15‬‬
‫)‪ (4‬ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.15‬‬
‫‪- 40 -‬‬
 ‫‪ -2‬ﺍﳌﻮﻗﻊ ﻭﺍﳊﺪﻭﺩ ﻭﺍﻷﻗﺎﻟﻴﻢ ‪:‬‬
‫ﺍﳌﺴﻴﻠﺔ‪ :‬ﻣﻦ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﺪﺍﺧﻠﻴﺔ‪ ،‬ﺗﺘﺄﻟﻒ ﻣﻦ ‪ 15‬ﺩﺍﺋﺮﺓ ﻭ‪ 45‬ﺑﻠﺪﻳﺔ‪ ،‬ﳛﺪ‪‬ﻫﺎ ﻣﻦ ﺍﻟﺸﻤﺎﻝ‬
‫ﻭﻻﻳﱵ ﺳﻄﻴﻒ ﻭﺑﺮﺝ ﺑﻮﻋﺮﻳﺮﻳﺞ ﻭﻣﻦ ﺍﻟﻐﺮﺏ ﻭﻻﻳﱵ ﺍﻟﺒﻮﻳﺮﺓ ﻭﺍﳌﺪﻳﺔ‪ ،‬ﻭﻣﻦ ﺍﳉﻨﻮﺏ ﻭﻻﻳﱵ ﺍﳉﻠﻔﺔ‬
‫ﻭﺑﺴﻜﺮﺓ ﻭﻣﻦ ﺍﻟﺸﺮﻕ ﻭﻻﻳﺔ ﺑﺎﺗﻨﺔ ‪.‬‬
‫ﻣﻨﺎﺧﻬﺎ ﻗﺎﺭﻱ ﻭﻫﻲ ﻭﺳﻂ ﺑﲔ ﺍﻟﺘ‪‬ﻞ ﻭﺍﻟﺼﺤﺮﺍﺀ‪ ،‬ﺃﻣ‪‬ﺎ ﺷﺘﺎﺅﻫﺎ ﻓﺄﻣﻄﺎﺭﻩ ﻗﻠﻴﻠﺔ‪ ،‬ﺷﺪﻳﺪﺓ ﺍﻟﱪﻭﺩﺓ‬
‫) ‪(1‬‬
‫ﻭﺻﻴﻔﻬﺎ ﺣﺎﺭ‪ ،‬ﺟﺎﻑ ‪.‬‬
‫ﺗﺘﻮﻓﹼﺮ ﻭﻻﻳﺔ ﺍﳌﺴﻴﻠﺔ ﻋﻠﻰ ﳐﺰﻭﻥ ﻣﺘﺠﺪ‪‬ﺩ ﻣﻦ ﺍﳌﻴﺎﻩ ﺍﳉﻮﻓﻴﺔ‪ ،‬ﺍﻟﱵ ﲤﻮ‪‬ﻥ ﲟﻴﺎﻩ ﺍﻷﻭﺩﻳﺔ‪ ،‬ﺍﳌﻨﺤﺪﺭﺓ‬
‫ﻣﻦ ﺍﳉﺒﺎﻝ ﺍﻟﺘﻠﻴ‪‬ﺔ‪ ،‬ﻭﻫﻮ ﻣﺎ ﺳﺎﻫﻢ ﰲ ﺗﻨﺸﻴﻂ ﺍﳊﺮﻛﺔ ﺍﻟﻔﻼﺣﻴﺔ ﻭﺍﻟﺰﺭﺍﻋﻴﺔ ﻟﻠﻤﻨﻄﻘﺔ‪ ،‬ﺍﻟﱵ ﻭﺟﺪﺕ ﻓﻴﻬﺎ‬
‫ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﺘﻨﻔﺴﻬﺎ ﻭﻏﺎﻳﺘﻬﺎ‪.‬‬
‫ﺧﺎﺻﺔ ﻭﺃﻥﹼ ﻫﺬﻩ ﺍﳌﻬﻨﺔ ﺗﻘﻮﻡ ﺃﺳﺎﺳﺎ ﻋﻠﻰ "ﺇﺛﺎﺭﺓ ﺍﻷﺭﺽ ﻭﺍﺯﺩﺭﺍﻋﻬﺎ‪ ،‬ﻭﻋﻼﺝ ﻧﺒﺎ‪‬ﺎ‬
‫ﻭﺍﺳﺘﺨﺮﺍﺝ ﺣﺒ‪‬ﻪ ﻣﻦ ﻏﻼﻓﻪ‪ ،‬ﻭﺇﺣﻜﺎﻡ ﺍﻷﻋﻤﺎﻝ ﻟﺬﻟﻚ‪ ،‬ﻭﲢﺼﻴﻞ ﺃﺳﺒﺎﺑﻪ ﻭﺩﻭﺍﻋﻴﻪ ﻭﻫﻲ ﺃﻗﺪﻡ ﺍﻟﺼﻨﺎﻉ‬
‫ﻛﻤﺎ ﺃﻧ‪‬ﻬﺎ ﳏﺼﻠﺔ ﻟﻠﻘﻮﺕ ﺍﳌﻜﻤ‪‬ﻞ ﳊﻴﺎﺓ ﺍﻹﻧﺴﺎﻥ ﻏﺎﻟﺒﺎ‪ ،‬ﺇﺫ ﳝﻜﻦ ﻭﺟﻮﺩﻩ ")‪.(2‬‬
‫ﻛﻤﺎ ﺃﻥﹼ ﺍﻫﺘﻤﺎﻡ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻛﺎﻥ ﻣﻨﺼﺒ‪‬ﺎ ﺃﺳﺎﺳ‪‬ﺎ ﻋﻠﻰ ﺯﺭﺍﻋﺔ ﺍﻟﻘﻤﺢ‬
‫ﻭﺍﻟﺸﻌﲑ ﺑﺼﻔﺔ ﺭﺋﻴﺴﻴﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻏﺮﺱ ﺃﺷﺠﺎﺭ ﺍﻟﺘﲔ ﻭﺍﻟﺰﻳﺘﻮﻥ ﻭﺍﻟﻜﺮﻭﻡ ﻭﺍﻟﺒﻘﻮﻝ ﻭﺍﻟﻨﺨﻴﻞ‬
‫ﻭﻏﲑﻫﺎ‪...‬‬
‫ﻭﻣﻦ ﺍﳌﻼﺣﻆ ﻭﺍﳌﻠﻔﺖ ﻟﻼﻧﺘﺒﺎﻩ ﺃﻳﻀﺎ ﺃﻥﹼ ﺗﺴﻤﻴﺔ ﺍﳌﺴﻴﻠﺔ ﻗﺪ ﺍﺭﺗﺒﻄﺖ ﺑﻌﺎﺻﻤﺔ ﺍﳊﻀﻨﺔ)*(ﻓﻬﻤﺎ‬
‫ﻣﻌ‪‬ﺎ‪ -‬ﺃﻱ ﺍﳌﺴﻴﻠﺔ ﻭ ﺍﳊﻀﻨﺔ‪ " -‬ﻳﺸﻜﻼﻥ ﻭﺣﺪﺓ ﺟﻐﺮﺍﻓﻴﺔ ﻭﺑﺸﺮﻳﺔ ﻭﺗﺎﺭﳜﻴﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﲝﻴﺚ ﻻ ﳝﻜﻦ‬

‫)‪ (1‬ﻣﻮﻗﻊ ﺇﻟﻜﺘﺮﻭﱐ‪htt://ar-wikipedia.org/wiki/31 :‬‬

‫)*( ﺍﳊﻀﻨﺔ ‪ :‬ﺍﺳﻢ ﺃﻃﻠﻘﻪ ﺍﻟﻌﺮﺏ ﻋﻠﻰ ﺍﻟﺴﻬﻞ ﺍﻟﻮﺍﺳﻊ ﺍﻟﺬﻱ ﳝﺘﺪ ﳓﻮ ﺍﻟﺴﺒﺨﺔ ﺍﳌﺎﳊﺔ ﻟﻠﻤﺴﻴﻠﺔ ﻭﺍﻟﱵ ﲤﺘﺪ ﻣﻦ ﺍﻟﺸﻤﺎﻝ ﺇﱃ ﺍﳉﻨﻮﺏ ﺑﲔ ﺳﻠﺴﻠﺘﲔ‬
‫ﺟﺒﻠﻴﺘﲔ ﺗﻜﻮﻧﺘﺎ ﻣﻊ ﺟﺒﺎﻝ ﺍﻟﺒﲑﻳﲏ ﰲ ﺃﻭﺭﺑﺎ ﳘﺎ ﺍﻷﻃﻠﺲ ﺍﻟﺘﻠﻲ ﻭﺍﻟﺼﺤﺮﺍﻭﻱ ﻭﻣﻮﻗﻊ ﺍﳊﻀﻨﺔ ﺍﻟﺬﻱ ﺗﺒﺪﻭ ﻓﻴﻪ ﳏﺎﻃﺔ ﲝﺰﺍﻡ ﺟﺒﻠﻲ ﺗﺸﻜﻞ ﻗﻮﺱ ﻣﻦ‬
‫ﺍﻷﻭﺭﺍﺱ ﻭﺟﺒﺎﻝ ﺑﻠﺰﻣﺔ ﻣﻦ ﺍﻟﺸﺮﻕ ﺇﱃ ﺟﺒﺎﻝ ﻭﻧﻮﻏﺔ ﻏﺮﺑﺎ ﻋﱪ ﺟﺒﺎﻝ ﺑﻮﻃﺎﻟﺐ ﻭﺍﳌﻌﺎﺿﻴﺪ‪ ،‬ﺗﺸﻜﻞ ﺣﺪﻭﺩﺍ ﺟﻐﺮﺍﻓﻴﺔ ﺑﲔ ﺍﳌﻨﺎﻃﻖ ﺍﳌﺘﻮﺳﻄﻴﺔ ﺍﻟﺘﻠﻴﺔ‬
‫ﻭﺍﻟﺴﻬﻮﻝ ﺍﻟﺴﻬﺒﻴﺔ ﻭﺍﻟﺼﺤﺮﺍﻭﻳﺔ ﻟﻠﺤﻀﻨﺔ ﻭﺍﻟﺰﻳﺒﺎﻥ‪ .‬ﻳ‪‬ﻨﻈﺮ ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.07‬‬
‫)‪ (2‬ﺍﺑﻦ ﺧﻠﺪﻭﻥ‪ :‬ﺍﳌﻘﺪﻣﺔ‪ ،‬ﲢﻘﻴﻖ‪:‬ﺩﺭﻭﻳﺶ ﺍﳉﻮﻳﺪﻱ ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ‪ ،‬ﺑﲑﻭﺕ‪)،‬ﺩ‪.‬ﻁ(‪2002 ،‬ﻡ‪ ،‬ﺹ‪.376‬‬
‫‪- 41 -‬‬
‫ﺍﻟﺘﻌﺮ‪‬ﺽ ﻹﺣﺪﺍﻫﻦ ﺩﻭﻥ ﺫﻛﺮ ﺍﻷﺧﺮﻯ‪ ،‬ﻓﻤﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻭﺇﻗﻠﻴﻢ ﺍﳊﻀﻨﺔ ﺑﻮﺿﻌﻬﻤﺎ‬
‫ﺍﻟﻄﺒﻮﻏﺮﺍﰲ‪ ،‬ﺟﻌﻠﻬﻤﺎ ﻳﺘﻮﺳﻄﺎﻥ ﺇﻗﻠﻴﻤﲔ ﺟﻐﺮﺍﻓﻴﲔ ﻣﺘﻤﺎﻳﺰﻳﻦ ﻭﳘﺎ ﺍﻟﺘﻞ ﰲ ﺍﻟﺸﻤﺎﻝ ﻭﺍﻟﺼﺤﺮﺍﺀ ﰲ‬
‫) ‪(1‬‬
‫ﺍﳉﻨﻮﺏ"‪.‬‬
‫ﺇﺫﻥ‪ ،‬ﻓﺈﻥﹼ ﺍﻟﺘﻤﻮﺿﻊ ﺍﻟﻮﺳﻄﻲ ﳌﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻭﺇﻗﻠﻴﻢ ﺍﳊﻀﻨﺔ ﻋﻤﻮﻣ‪‬ﺎ‪ ،‬ﻳﻜﻮﻥ ﻗﺪ ﺃﺳﻬﻢ ﰲ‬
‫ﺗﻨ‪‬ﻮﻉ ﻣﻈﺎﻫﺮ ﺍﻟﺴﻄﺢ ﳍﺎ ﻣﻦ ﺟﺒﺎﻝ ﻭﺳﻬﻮﻝ ﻭﻛﺬﺍ ﺷﻄﻮﻁ ﻭﺭﻣﺎﻝ‪.‬‬
‫ﺃﻣ‪‬ﺎ ﺍﳉﺒﺎﻝ ﻓﺘﻤﺜﻠﻬﺎ ﺟﺒﺎﻝ ﺍﳊﻀﻨﺔ " ﺍﻟﱵ ﲤﺜﻞ ﺍﳊﺪﻭﺩ ﺍﻟﺸﻤﺎﻟﻴﺔ ﳌﻨﻄﻘﺔ ﺍﳊﻀﻨﺔ ﻭﻫﻲ ﲤﺘﺪ‪ ‬ﻋﻠﻰ‬
‫ﺷﻜﻞ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻟﺸﻤﺎﻝ ﺍﻟﻐﺮﰊ ﳓﻮ ﺍﳉﻨﻮﺏ ﺍﻟﺸﺮﻗﻲ ﳑﺜﻠﺔ ﰲ ﺟﺒﺎﻝ ﻭﻧ‪‬ﻮﻏﺔ ﻏﺮﺑﺎ ﻭﺟﺒﺎﻝ‬
‫) ‪(2‬‬
‫ﺍﳌﻌﺎﺿﻴﺪ‪...‬ﻭﺗﻌﺘﱪ ﻫﺬﻩ ﺍﻟﺴﻼﺳﻞ ﺍﳉﺒﻠﻴﺔ ﻣﺼﺪﺭ ﺃﻭﺩﻳﺔ ﺍﳊﻀﻨﺔ ﻭﺷﻄﻬﺎ"‬
‫ﻭﺃﻣﺎ ﺍﻟﺴﻬﻮﻝ‪ ،‬ﻓﻬﻲ ﻣﺘﺮﺍﻣﻴﺔ ﺍﻷﻃﺮﺍﻑ ﻣﻮﺯﻋﺔ ﺑﲔ ﺍﳉﻬﺎﺕ ﺍﻷﺭﺑﻌﺔ ﳌﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺃﳘﻬﺎ‬
‫ﺳﻬﻮﻝ ﺳﻴﺪﻱ ﻋﻴﺴﻰ‪ ،‬ﻭﺍﻟﺒﺤﲑﺓ ﻭﺍﳌﺴﻴﻠﺔ ﻭﺑﻮﺳﻌﺎﺩﺓ‪...‬ﺍﱁ‪ ،‬ﰲ ﺣﲔ ﺍﻟﺸﻄﻮﻁ ﳝﺜﻠﻬﺎ ﺷﻂ ﺍﳊﻀﻨﺔ‬
‫"ﺍﻟﺬﻱ ﺃﻃﻠﻖ ﻋﻠﻴﻪ ﺍﻟﺮﻭﻣﺎﻥ ﻗﺪﳝﺎ ﺍﺳﻢ ‪ salinae tubonense‬ﻧﻈﺮ‪‬ﺍ ﻟﻘﺮﺑﻪ ﻣﻦ ﺍﳌﺪﻳﻨﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‬
‫ﺍﻟﻘﺪﳝﺔ ﻃﺒﻨﺔ)*( ‪ thubunae‬ﻭﻳﺘﻤﻴﺰ ﺑﻮﺟﻮﺩ ﻃﺒﻘﺔ ﻣﻠﺤﻴﺔ ﺧﻔﻴﻔﺔ ﻋﺪﳝﺔ ﺍﻟﻨﺒﺎﺗﺎﺕ ﲤﻮ‪‬ﻥ ﲟﻴﺎﻩ ﻭﺍﺩﻱ‬
‫ﺍﳌﺴﻴﻠﺔ ﺃﻭ ﺍﻟﻘﺼﺐ ﻭﻭﺍﺩﻱ ﺍﻟﺸﻼﻝ ﻭﻭﺍﺩﻱ ﺑﻮﺳﻌﺎﺩﺓ ﻭﺗﻘﺪﺭ ﻣﺴﺎﺣﺘﻪ ﺑـ )‪24500‬ﻛﻠﻢ‪.(3) "(2‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺈﻥ ﺍﳉﻐﺮﺍﻓﻴﲔ ﻗﺴ‪‬ﻤﻮﺍ ﺇﻗﻠﻴﻢ ﺍﳊﻀﻨﺔ ﺇﱃ ﺃﺭﺑﻌﺔ ﺃﻗﺴﺎﻡ ﻃﺒﻴﻌﻴﺔ ﳐﺘﻠﻔﺔ ﻫـﻲ‪ :‬ﺟﺒـﺎﻝ‬
‫ﻭﺳﻬﻮﻝ ﻭﺷﻂ ﻭﺭﻣﻞ‪ ،‬ﻭﻣﺎ ﻗﻴﻞ ﺳﺎﻟﻔﹰﺎ‪ ،‬ﻣﺎ ﻫﻮ ﺇﻻ ﺗﻔﺼﻴﻞ ﻟﺬﻟﻚ ﻛﻤـﺎ ﺃﻥ ﺍﻟﺘﻤﻮﻗـﻊ ﺍﻟﻮﺳـﻄﻲ‬
‫ﺍﳊﺪﻭﺩﻱ ﻟﻠﻤﻨﻄﻘﺔ ﻭﺍﳌﻈﺎﻫﺮ ﺍﳉﻐﺮﺍﻓﻴﺔ ﺍﳌﺘﺒﺎﻳﻨﺔ ﻓﻴﻬﺎ ﺃﺳﻬﻤﺖ ﰲ ﺗﻨﺸﻴﻂ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ‬
‫ﻗﺪﳝ‪‬ﺎ ﻭﺣﺪﻳﺜﺎ ﺑﻞ ﻭﻛﺎﻧﺖ "ﻋﺎﻣﻼﹰ ﰲ ﺑﺮﻭﺯ ﻣﺎ ﻳﻌﺮﻑ ﺑﺎﻹﻧﺴﺎﻥ ﺍﳊﻀﲏ ﺃﻭ ﺍﻟﺪ‪‬ﺭﺍﺟﻲ")‪.(4‬‬

‫)‪ (1‬ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ﺍﳌﺨﺘﻠﻄﺔ‪ ،‬ﺹ ‪.07‬‬

‫)‪ (2‬ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.09‬‬
‫)*( ﻃﺒﻨﺔ = ﻫﻲ ﻣﺪﻳﻨﺔ ﻛﺒﲑﺓ ﻗﺪﳝﺔ ﻋﻠﻴﻬﺎ ﺳﻮﺭ ﻣﻦ ﻃﻮﺏ ﻭﳍﺎ ﺣﺼﻦ ﻗﺪﱘ ﻋﻠﻴﻪ ﺳ‪‬ﻮﺭ ﻣﻦ ﺻﺨﺮ ﺟﻠﻴﻞ ﺿﺨﻢ ﻣﺘﻘﻦ ﺍﻟﺒﻨﺎﺀ ﻣﻦ ﻋﻤﻞ ﺍﻷﻭﺍﺋﻞ‪ ،‬ﻭﳍﺎ‬
‫ﺃﺭﻳﺎﺽ ﻭﺍﺳﻌﺔ ﻭﻫﻲ ﳑﺎ ﺍﻓﺘﺘﺢ ﻣﻮﺳﻰ ﺑﻦ ﻧﺼﲑ ﺣﲔ ﺩﺧﻞ ﺑﻼﺩ ﺇﻓﺮﻳﻘﻴﺔ ﻭﺍﳌﻐﺮﺏ ﻭﺑﻼﺩ ﺍﻷﻧﺪﻟﺲ‪ ،‬ﻓﺒﻠﻎ ﺳﺒﻴﻬﺎ ‪ 20‬ﺃﻟﻒ ﺭﺃﺱ‪ ،‬ﻭﱂ ﻳﻜﻦ ﻣﻦ‬
‫ﺍﻟﻘﲑﻭﺍﻥ ﺇﻻ ﺳﺠﻠﻤﺎﺳﺔ ﻣﺪﻳﻨﺔ ﺃﻛﱪ ﻣﻨﻬﺎ‪ .‬ﻳ‪‬ﻨﻈﺮ‪ ،‬ﻣﺆﺭﺥ ﳎﻬﻮﻝ‪ :‬ﺍﻹﺳﺘﺒﺼﺎﺭ ﰲ ﻣﻌﺮﻓﺔ ﺍﻷﻣﺼﺎﺭ)ﻭﺻﻒ ﻣﻜﺔ ﻭﺍﳌﺪﻳﻨﺔ ﻭﻣﺼﺮ ﻭﺑﻼﺩ ﺍﳌﻐﺮﺏ( ﺗﻌﻠﻴﻖ‪:‬‬
‫ﺳﻌﺪ ﺯﻏﻠﻮﻝ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺩﺍﺭ ﺍﻟﺸﺆﻭﻥ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﺑﻐﺪﺍﺩ‪،،‬ﻁ‪ ،2‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ ﺍﳌﻌﺮﻓﻴﺔ‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪) ،‬ﺩ ﻁ(‪،1986،‬ﺹ ‪.172‬‬
‫)‪(3‬‬
‫ﻧﻘﻼ ﻋﻦ ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪p98،1861،in R.A،(E):De M'sila a Boussaàda،vayssette،10‬‬
‫)‪(4‬‬
‫ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ ‪.13‬‬
‫‪- 42 -‬‬
 ‫ﻹﻃﺎر اﻟﺘـّ ﺎرﻳﺨﻲ ﻟﻠﻤﻨﻄﻘﺔ‬
‫ﺛﺎﻧﻴﺎ ‪ -‬ا‬
‫ﳐﻄﺊ ﻣﻦ ﻳﻈﻦ‪ ‬ﺃﻥ ﺗﺎﺭﻳﺦ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺣﺪﻳﺚ ﺍﻟﻌﻬﺪ‪،‬ﺑﻞ ﻫﻮ ﻗﺪﱘ ﻗﺪﻡ ﺍﳊﻀﺎﺭﺍﺕ ﺍﻟﱵ‬
‫ﺗﻮﺍﻟﺖ ﻋﻠﻴﻬﺎ‪ ،‬ﻭﺍﻟﺜﻘﺎﻓﺎﺕ ﺍﻟﱵ ﺗﻌﺎﻗﺒﺖ ﻋﻨﻬﺎ‪.‬‬
‫ﺫﻟﻚ ﻷﻧ‪‬ﻬﺎ ﺗﻨﺘﻤﻲ ﺇﱃ ﻭﻃﻦ ﻭﺍﺳﻊ ﻣﻜﺎﻓﺢ‪ ،‬ﻭﺍﳌﺴﻴﻠﺔ ﻣﺎ ﻫﻲ ﺇﻻﹼ ﺟﺰﺀ ﻣﻦ ﻫﺬﺍ ﺍﻟﻜﻞ ﺍﻟﻮﺍﺳﻊ‬
‫ﻓﺎﳌﻨﻄﻘﺔ ﺭﻏﻢ ﺗﺎﺭﳜﻴﺘﻬﺎ ﺍﳌﺘﺄﺻ‪‬ﻠﺔ ﺍﻟﱵ ﺍﻛﺘﺴﺒﺘﻬﺎ ﻣﻦ ﺍﳌﺎﺿﻲ ﺍﻟﻌﺮﻳﻖ ﳍﺎ ﲝﻀﺎﺭﺍﺗﻪ ﺍﳌﺘﻮﺍﻟﻴﺔ‪ ،‬ﻭﺃﺣﺪﺍﺛﻪ‬
‫ﺍﳌﺘﺸﻌ‪‬ﺒﺔ ‪ ،‬ﺇﻻﹼ ﺃﻥﹼ ﻫﺬﺍ ﺍﳌﺎﺿﻲ ﺑﻘﻲ ﻣﻬﻤﻼﹰ ﻭﻏﺎﻣﻀ‪‬ﺎ‪ ،‬ﻭﱂ ﳛﻆ ﺑﺄﻱ ﺍﻫﺘﻤﺎﻡ ﻣﻦ ﻗﺒﻞ ﺍﳌﺆﺭﺧﲔ‪،‬‬
‫ﺍﻟﺬﻳﻦ ﺍﻧﻜﺒﻮﺍ ﻋﻠﻰ ﺩﺭﺍﺳﺔ ﺗﺎﺭﻳﺦ ﺍﳊﻮﺍﺿﺮ ﺍﻟﻜﱪﻯ ﻛﺘﻠﻤﺴﺎﻥ ﻣﺜﻼ‪.‬‬
‫ﻣﺘﻨﺎﺳﲔ ﺑﺬﻟﻚ ﺍﳌﺪﻥ ﺍﻟﱵ ﻛﺎﻥ ﳍﺎ ﺍﻟﺼﺪﻯ ﺍﻟﻮﺍﺳﻊ ﰲ ﺻﻨﺎﻋﺔ ﺗﺎﺭﻳﺦ ﻓﺘﺮﺓ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻮﺳﻄﻰ ﻣﺜﻞ‬
‫ﺑﺴﻜﺮﺓ ﻭﺍﳌﺴﻴﻠﺔ ﻭﻏﲑﳘﺎ‪.‬‬
‫ﺇﻥﹼ ﻣﻦ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﱵ ﻗﺪ ﺗﻜﻮﻥ ﻭﺭﺍﺀ ﺍﻧﺼﺮﺍﻑ ﺍﻟﺒﺎﺣﺜﲔ ﻋﻦ ﺩﺭﺍﺳﺔ ﺗﺎﺭﻳﺦ ﻣﻨﻄﻘﺔ‬
‫ﺍﳌﺴﻴﻠﺔ" ﺃﻥﹼ ﻛﻞﹼ ﻣﺎ ﻳ‪‬ﻌﺮﻑ ﻋﻦ ﺍﳌﻨﻄﻘﺔ ﻻ ﻳﺘﻌﺪ‪‬ﻯ ﺃﺣﺪﺍﺙ ﻣﺘﻔﺮ‪‬ﻗﺔ ﻏﲑ ﻣﺘﺮﺍﺑﻄﺔ ﻻ ﺗﻐﲏ ﺍﻟﺒﺎﺣﺚ ﰲ‬
‫ﺃﺷﻴﺎﺀ ﻛﺜﲑﺓ‪ ،‬ﻭﻻ ﺗﻌﻄﻴﻨﺎ ﺻﻮﺭﺓ ﺣﻘﻴﻘﻴﺔ ﻭﺍﺿﺤﺔ‪ ،‬ﻟﺬﻟﻚ ﻳﺼﺒﺢ ﺍﳍﺪﻑ ﻣﻦ ﻛﻞﹼ ﺩﺍﺭﺳﺔ ﳍﺬﻩ ﺍﳌﻨﻄﻘﺔ‬
‫ﰲ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﻈﺮﻭﻑ ﻣﻮﺟ‪‬ﻬﺎ ﺇﱃ ﺇﻋﺎﺩﺓ ﺭﺑﻂ ﺗﺎﺭﻳﺦ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺑﺒﺎﻗﻲ ﺍﻟﺒﻼﺩ‪ ،‬ﻭﺇﻇﻬﺎﺭ ﺃﳘﻴﺘﻬﺎ‬
‫ﺍﳋﺎﺻﺔ ﰲ ﺇﻃﺎﺭ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﻮﻃﲏ ﺍﻟﻌﺎﻡ ﻟﻠﺠﺰﺍﺋﺮ" )‪. (1‬‬
‫ﻭﻗﺪ ﺷﻬﺪﺕ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻋﻠﻰ ﻣﺮ‪ ‬ﺍﻟﻌﺼﻮﺭ ﻭﻓﻮﺩ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﻮﺟﺎﺕ ﺍﻟﺒﺸﺮﻳﺔ ﺍﻟﱵ‬
‫ﺃﻗﺎﻣﺖ ﻋﻠﻴﻬﺎ ﺣﻀﺎﺭﺍﺕ ﳐﺘﻠﻔﺔ‪ ،‬ﺗﺮﻛﺖ ﺑﺼﻤﺎ‪‬ﺎ ﻭﺁﺛﺎﺭﻫﺎ ﺍﻟﺘﺎﺭﳜﻴﺔ‪ ،‬ﻣﻦ ﺍﺣﺘﻼﻝ ﺭﻭﻣﺎﱐ ﻭﻭﻧﺪﺍﱄ ﰒﹼ‬
‫ﺑﻴﺰﻧﻄﻲ‪ ،‬ﺇﱃ ﻓﺘﺢ ﻋﺮﰊ ﺇﺳﻼﻣﻲ‪ ،‬ﻓﻔﺘﺮﺓ ﺍﻟﺪﻭﻝ ﺍﻹﺳﻼﻣﻴﺔ ﻛﺎﻷﻏﻠﺒﻴﺔ ﻭﺍﻟﻔﺎﻃﻤﻴﺔ ﻭﺍﳊﻤﺎﺩﻳﺔ‪ ،‬ﺇﱃ ﻓﺘﺮﺓ‬
‫ﻣﻮﺣ‪‬ﺪﻳﺔ ﻭﺣﻔﺼﻴﺔ‪.‬‬
‫ﻟﺘ‪‬ﺨﺘﻢ ﰲ ﺍﻷﺧﲑ ﺑﺎﺣﺘﻼﻝ ﻓﺮﻧﺴﻲ ﻣﺲ‪ ‬ﺍﳉﺰﺍﺋﺮ ﻗﺎﻃﺒﺔ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﺳﻨﺔ ‪1830‬ﻡ‬

‫‪.‬‬ ‫)‪(1‬‬
‫ﻛﻤﺎﻝ ﺑﲑﻡ ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ ‪ ،‬ﺹ ‪07‬‬
‫‪- 43 -‬‬
‫ﻓﺎﻧﻄﻼﻗﺎ ﻣﻦ ﺍﻟﺘﺘﺒ‪‬ﻊ ﺍﻟﺘﺎﺭﳜﻲ ﳌﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺃﻣﻜﻦ ﺗﻘﺴﻴﻢ ﻣﺎﺿﻴﻬﺎ ﺇﱃ ﺛﻼﺙ ﺣﻘﺐ ﺗﺎﺭﳜﻴﺔ‬
‫ﻣﻬﻤ‪‬ﺔ ﻫﻲ ﻋﻠﻰ ﺍﻟﺘﻮﺍﱄ‪:‬‬
‫‪ -‬ﺍﻟﻘﺪﻡ ﺍﻟﺘﺎﺭﳜﻲ ﻟﻠﻤﺴﻴﻠﺔ )ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ(‪.‬‬
‫‪ -‬ﺍﻟﻔﺘﺮﺓ ﺍﻹﺳﻼﻣﻴﺔ ‪.‬‬
‫‪ -‬ﺍﻟﻔﺘﺮﺓ ﺍﻻﺳﺘﻌﻤﺎﺭﻳﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ‪.‬‬
‫‪ -1‬ﺍﻟﻘﺪﻡ ﺍﻟﺘﺎﺭﳜﻲ ﻟﻠﻤﺴﻴﻠﺔ )ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ(‪:‬‬
‫ﺩﺍﺋﻤﺎ ﻳﺪﻓﻊ ﺑﻨﺎ ﺍﻟﻔﻀﻮﻝ ﺇﱃ ﳏﺎﻭﻟﺔ ﻣﻌﺮﻓﺔ ﺍﻷﻣﻮﺭ ﺍﻟﻐﺮﻳﺒﺔ ﺍﻟﱵ ﺣﺪﺛﺖ ﺑﻌﻴﺪ‪‬ﺍ ﻋﻦ ﺯﻣﻨﻨﺎ‬
‫ﻭﻳﺰﺩﺍﺩ ﻓﻀﻮﻟﻨﺎ ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﹼﻖ ﺍﻷﻣﺮ ﲟﻨﻄﻘﺘﻨﺎ ﺍﻟﱵ ﻧﻌﻴﺶ ﻓﻴﻬﺎ‪ ،‬ﺣﻴﺚ ﺗﺼﺒﺢ ﺍﻟﺮﻏﺒﺔ ﻣﻠﺤ‪‬ﺔ ﰲ ﺃﻧﻔﺴﻨﺎ‪،‬‬
‫ﺗﺪﻋﻮﻧﺎ ﺇﱃ ﳏﺎﻭﻟﺔ ﺍﺳﺘﻜﺸﺎﻑ ﺧﺒﺎﻳﺎﻫﺎ ﻛﻴﻒ ﻛﺎﻧﺖ ﰲ ﺍﻟﻘﺪﱘ؟ ﻭﻣﺎ ﻫﻮ ﺍﻣﺘﺪﺍﺩﻫﺎ ﺍﳉﻐﺮﺍﰲ؟‬
‫ﻟﻘﺪ ﻋ‪‬ﺮﻓﺖ ﺍﳌﺴﻴﻠﺔ ﰲ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺑﺎﺳﻢ ﺯﺍﺑـﻲ "ﺣﻴﺚ ﻛﺎﻧﺖ ﲤﺘﺪ ﻣﻦ ﻣﺮﺗﻔﻌﺎﺕ‬
‫ﺍﻷﻭﺭﺍﺱ ﺑﺒﻼﺩ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﺴﻄﺎﻳﻔﻴﺔ‪ ،‬ﺍﻟﱵ ﺃﺻﺒﺤﺖ ﺟﺰﺀ ﻣﻨﻬﺎ ﻣﻼﻣﺴﺔ ﳌﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﻘﻴﺼﺮﻳﺔ ﻭﺍﻟﱵ‬
‫ﻛﺎﻧﺖ ﻛﻞ ﺍﻟﺼﺤﺮﺍﺀ ﺍﻟﻮﺳﻄﻰ ﺍﻟﱵ ﺗﻌﺮﻑ ﺑﺎﳊﻀﻨﺔ")‪.(1‬‬
‫ﺇﻥﹼ ﻣﺎ ﻳﻼﺣﻆ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﻗﻴﻞ ‪،‬ﺃﻥ ﺍﻟﺮﺳﻢ ﺍﳊﺪﻭﺩﻱ ﻭﺍﳉﻐﺮﺍﰲ ﳌﺪﻳﻨﺔ ﺍﳌﺴﻴﻠﺔ ﺃﺛﻨﺎﺀ ﺍﳊﻜﻢ‬
‫ﺍﻟﺮﻭﻣﺎﱐ ﻳﺘﻔﻖ ﺇﱃ ﺣﺪ ﺑﻌﻴﺪ ﻭﺍﻟﺘﺤﺪﻳﺪ ﺍﳉﻐﺮﺍﰲ ﺍﳊﺎﱄ ﺧﺎﺻﺔ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﻮﺳﻄﻴﺔ ﺑﲔ ﺍﻟﺘﻞ‬
‫ﻭﺍﻟﺼﺤﺮﺍﺀ‪ ،‬ﺇﺫ ﻳﺬﻫﺐ ﺍﳌﺆﺭﺧﻮﻥ ﺇﱃ ﺃﻥ ﺗﺄﺳﻴﺲ ﺍﳌﺴﻴﻠﺔ ﱂ ﻳﺄﺕ ﺻﺪﻓﺔ ﺑﻞ ﺃﻧﺸﺄﻫﺎ ﺍﻟﺮﻭﻣﺎﻥ"ﻟﺘﻜﻮﻥ‬
‫ﻣﻨﻄﻘﺔ ﺣﺪﻭﺩﻳﺔ ﻋﻠﻰ ﺍﳋﻂ ﺍﻟﺪﻓﺎﻋﻲ ﺍﻟﺜﺎﱐ ﻭﲤﻨﻊ ﺯﺣﻒ ﺍﻟﺮﺣﻞ ﺍﻟﺬﻳﻦ ﻳﺘﺮﺩ‪‬ﺩﻭﻥ ﻋﻠﻰ ﲝﲑﺓ ﺷﻂ‬
‫ﺍﳊﻀﻨﺔ ﻣﻦ ﺍﳉﺰﺀ ﺍﻟﻐﺮﰊ")‪.(2‬‬

‫‪j:Monographie de M'sile geographique et Historique de le trilru du hodna ،(1)-Maguelonne‬‬

‫ﻧﻘﻼ ﻋﻦ ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ﺍﳌﺨﺘﻠﻄﺔ ﺹ‪p9/15،1909،oriental in .R.S.A.C‬‬
‫)‪ (2‬ﳏﻤﺪ ﺍﻟﺒﺸﲑ ﺷﻨﻴﱵ‪ :‬ﺍﳉﺰﺍﺋﺮ ﰲ ﻇﻞ ﺍﻻﺣﺘﻼﻝ ﺍﻟﺮﻭﻣﺎﱐ‪ ،‬ﲝﺚ ﰲ ﻣﻨﻈﻮﻣﺔ ﺍﻟﺘﺤﻜﻢ ﺍﻟﻌﺴﻜﺮﻱ‪ ،‬ﺍﻟﻠﻴﻤﺲ ﺍﳌﻮﺭﻳﻄﺎﱐ ﻭﻣﻘﺎﻭﻣﺔ ﺍﻟﺮﻭﻡ‪ ،‬ﺩﻳﻮﺍﻥ‬
‫ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪.‬ﻁ(‪) ،‬ﺩ‪.‬ﺕ(‪ ،‬ﺹ‪.175‬‬
‫‪- 44 -‬‬
‫ﻛﻤﺎ ﻋﺮﻓﺖ ﺍﳌﻨﻄﻘﺔ ﺃﻳﻀﺎ ﺯﺣﻔﺎ ﻭﻧﺪﺍﻟﻴﺎ ﻭﺁﺧﺮ ﺑﻴﺰﻧﻄﻴﺎ ﻛﺸﻔﺖ ﻋﻨﻪ ﺍﻟﻨﻘﻴﺸﺔ ﺍﻟﱵ ﻋﺜﺮ ﻋﻠﻴﻬﺎ‬
‫ﺍﻟﻀﺒﺎﻁ ﺍﻟﻔﺮﻧﺴﻴﻮﻥ ﺑﻌﺪ ﺍﺣﺘﻼﳍﻢ ﳌﺪﻳﻨﺔ ﺍﳌﺴﻴﻠﺔ ﺳﻨﺔ ‪1859‬ﻡ ﰲ ﻣﻨﻄﻘﺔ ﺗﻌﺮﻑ ﺍﻵﻥ " ﲞﺮﺑﺔ‬
‫ﺑﺸﻴﻠﻴﻘﻴﺎ ﺃﻭ ﺑﺸﻴﻠ‪‬ﻘﺎ ﺑﻜﺴﺮ ﺍﻟﻼﻡ ")‪ (1‬ﻛﻤﺎ ﻳﻌﺮﻓﻬﺎ ﺍﳌﺆﺭﺥ ﺍﻟﺒﻜﺮﻱ‪.‬‬
‫ﻋﻤﻮﻣﺎ‪ ،‬ﻓﺈﻥﹼ ﻫﺬﻩ ﺍﻟﻮﻗﻔﺔ ﺍﳌﺨﺘﺼﺮﺓ ﻟﺘﺎﺭﻳﺦ ﺍﳊﻀﻨﺔ ﺍﻟﻘﺪﱘ ﻛﺸﻔﺖ ﻋﻦ ﺫﻟﻚ ﺍﻟﻌﻤﻖ‬
‫ﺍﳊﻀﺎﺭﻱ‪ ،‬ﻭﺍﻟﻘﺪﻡ ﺍﻟﺘﺎﺭﳜﻲ ﻟﻠﻤﺴﻴﻠﺔ ﻭﺍﻟﺪﻟﻴﻞ ﺗﻠﻚ ﺍﳌﻨﺤﻮﺗﺎﺕ ﻭﺍﻟﻨﻘﻴﺸﺎﺕ ﻭﺑﻘﺎﻳﺎ ﺍﻷﻋﻤﺪﺓ‬
‫ﻭﺍﳊﺠﺎﺭﺓ ﺍﳌﺘﻮﺍﺟﺪﺓ ﺑﺎﳌﻨﻄﻘﺔ‪.‬‬
‫ﻓﻤﺎ ﺍﻟﺮﻭﻣﺎﻥ ﻭﺃﺗﺒﺎﻋﻬﻢ ﺇﻻ ﺃﻗﻮﺍﻡ ﻧﺰﻟﻮﺍ ﺑﺰﺍﰊ ) ﺍﳌﺴﻴﻠﺔ( ﰲ ﻣﺮﺣﻠﺔ ﻣﺎ ﰒ ﻏﺎﺩﺭﻭﻫﺎ ﻟﻴﺘﺮﻛﻮﺍ‬
‫ﺍ‪‬ﺎﻝ ﻓﺴﻴﺤﺎ ﻟﻠﻌﺮﺏ ﺍﻟﻔﺎﲢﲔ ‪.‬‬
‫ﻓﻤﺎﺫﺍ ﻓﻌﻞ ﺍﻟﻌﺮﺏ ﺍﳌﺴﻠﻤﻮﻥ ﻳﺎ ﺗ‪‬ﺮﻯ؟!‬
‫‪ -2‬ﺍﻟﻔﺘﺮﺓ ﺍﻹﺳﻼﻣﻴﺔ ‪:‬‬
‫ﺑﻌﺪ ﻇﻬﻮﺭ ﺍﻹﺳﻼﻡ ﺍﻟﺬﻱ ﻫﻮ ﺁﺧﺮ ﺍﻟﺪﻳﺎﻧﺎﺕ ﺍﻟﺴﻤﺎﻭﻳﺔ‪ ،‬ﺍﺳﺘﺪﻋﺖ ﺍﳊﺎﺟﺔ ﺇﱃ ﻧﺸﺮﻩ ﻋﱪ‬
‫ﺑﻘﺎﻉ ﺍﻷﺭﺽ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﻓﻜﺎﻥ ﻻﺑﺪ ﻣﻦ ﻓﺘﻮﺣﺎﺕ ﺇﺳﻼﻣﻴﺔ‪ ،‬ﻣﺴ‪‬ﺖ ﰲ ﺑﺪﺍﻳﺔ ﺍﻷﻣﺮ ﺍﳌﻮﺍﻗﻊ ﺍﻟﻘﺮﻳﺒﺔ ﻣﻦ‬
‫ﺷﺒﻪ ﺍﳉﺰﻳﺮﺓ ﺍﻟﻌﺮﺑﻴﺔ ﻣﻨﺰﻝ ﺍﻟﻮﺣﻲ ﻭﺍﻟﺘﺮﺑﺔ ﺍﳋﺼﺒﺔ ﺍﻟﱵ ﳕﺎ ﻓﻴﻬﺎ‪.‬‬
‫ﰒ ﺗﻮﺳﻌﺖ ﺑﻌﺪ ﺫﻟﻚ ﺍﻟﻔﺘﻮﺣﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺣﻴﺚ "ﲤﻜﻦ ﺍﻟﻌﺮﺏ ﺍﳌﺴﻠﻤﻮﻥ ﻣﻦ‬
‫ﺍﻟﺘﻮﻏﻞ ﰲ ﺑﻼﺩ ﺍﳌﻐﺮﺏ ﺑﻌﺪ ﺍﻧﺘﻬﺎﺋﻬﻢ ﻣﻦ ﻓﺘﺢ ﻣﺼﺮ ‪ ،‬ﻭﻗﺪ ﺍﺳﺘﻐﺮﻗﺖ ﻋﻤﻠﻴﺔ ﺍﻟﻔﺘﺢ ﺃﻛﺜﺮ ﻣﻦ ﺳﺒﻌﲔ‬
‫) ‪(2‬‬
‫ﺳﻨﺔ ﻟﻌﻮﺍﻣﻞ ﻛﺜﲑﺓ ﺗﻌﻮﺩ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﺇﱃ ﻣﻨﺎﻋﺔ ﺍﻟﺒﻼﺩ"‪.‬‬
‫ﻭﲟﺎ ﺃﻥ ﺍﳌﺴﻴﻠﺔ ﺍﻣﺘﺪﺍﺩ ﻟﺒﻼﺩ ﺍﳌﻐﺮﺏ ‪ ،‬ﻓﻘﺪ ﻣﺴ‪‬ﺘﻬﺎ ﻫﻲ ﺍﻷﺧﺮﻯ ﺍﻟﻔﺘﻮﺣﺎﺕ ﺍﻹﺳﻼﻣﻴﺔ ﺣﻴﺚ‬
‫ﻭﺭﺩ ﰲ ﻛﺘﺐ ﺍﻟﺘﺎﺭﻳﺦ ﺃﻥﹼ ﻇﻬﻮﺭ ﺍﻟﻌﺮﺏ ﺍﻟﻔﺎﲢﲔ ﲟﻨﻄﻘﺔ ﺍﳊﻀﻨﺔ ﻭﺍﳌﺴﻴﻠﺔ ﻗﺪ ﺑﺪﺃ "ﰲ ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ‬
‫ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﺴﺎﺑﻊ ﺍﳌﻴﻼﺩﻱ ﻋﻨﺪﻣﺎ ﺣﻞﹼ ﻋﻘﺒﺔ ﺑﻦ ﻧﺎﻓﻊ ﻓﹶﺎﲢﺎ ﺃﻣﺎﻡ ﻣﻘﺎﻭﻣﺔ ﻛﹸﺴﻴﻠﺔ ﻭﺍﻟﱪﺑﺮ ﲟﻨﻄﻘﺔ ﻃﺒﻨﺔ‬

‫)‪ (1‬ﺍﻟﺒﻜﺮﻱ ‪ :‬ﺍﳌﻐﺮﺏ ﰲ ﺫﻛﺮ ﺑﻼﺩ ﺇﻓﺮﻳﻘﻴﺎ ﻭﺍﳌﻐﺮﺏ‪ ،‬ﺕ‪ :‬ﺩﻭﺳﻼﻥ‪ ،‬ﻧﺸﺮ ﻣﻜﺘﺒﺔ ﺍﳌﺜﲎ‪ ،‬ﺑﻐﺪﺍﺩ‪) ،‬ﺩ ﻁ(‪) ،‬ﺩ ﺕ(‪ ،‬ﺹ ‪. 59‬‬
‫)‪ (2‬ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ ﺑﻦ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻋﺒﺪ ﺍﳊﻜﻢ‪ :‬ﻓﺘﻮﺡ ﺇﻓﺮﻳﻘﻴﺔ ﻭﺍﻷﻧﺪﻟﺲ ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﻋﺒﺪ ﺍﷲ ﺃﻧﻴﺲ ﺍﻟﻄﹼﺒﺎﻉ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﺑﲑﻭﺕ‪) ،‬ﺩ ﻁ(‪،‬‬
‫‪1964‬ﻡ‪،‬ﺹ‪.14‬‬
‫‪- 45 -‬‬
‫ﰲ ﺷﺮﻕ ﺍﳊﻀﻨﺔ ﺣﻴﺚ ﺟﻌﻠﻬﺎ ﻛﹸﺴﻴﻠﺔ ﻣﺮﻛﺰ‪‬ﺍ ﺑﻘﻴﺎﺩﺗﻪ ﻛﻤﺎ ﺧﻀﻌﺖ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺇﱃ ﺳﻠﻄﺔ‬
‫) ‪.(1‬‬
‫ﺍﻷﻣﺎﺭﺓ ﺍﻷﻏﻠﺒﻴﺔ "‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﳌﺆﺭﺧﲔ ﻗﺪ ﺍﺧﺘﻠﻔﻮ ﰲ ﺳﻨﺔ ﺍﺧﺘﻄﺎﻁ ﻣﺪﻳﻨﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻓﻘﺪ ﺫﻛﺮ ﺍﺑﻦ‬
‫ﻋﺬﺍﺭﻯ )ﺕ‪712‬ﻫـ‪1312-‬ﻡ(‪ ،‬ﻭﻣﺆﻟﻒ ﳎﻬﻮﻝ ﰲ ﻛﺘﺎﺑﺔ ﺍﻻﺳﺘﺒﺼﺎﺭ )ﺍﻟﺬﻱ ﻋﺎﺵ ﰲ ﺍﻟﻘﺮﻥ‬
‫) ‪(2‬‬
‫‪6‬ﻫـ( ﺃ‪‬ﺎ ﺃﹸﺳﺴﺖ ﺳﻨﺔ )‪313‬ﻫـ‪925/‬ﻡ(‪.‬‬
‫ﺑﻴﻨﻤﺎ ﻳﺬﻫﺐ ﺁﺧﺮﻭﻥ ﻛﺎﺑﻦ ﺍﻷﺛﲑ )‪630‬ﻫـ‪1232-‬ﻡ( ﻭﺍﺑﻦ ﺧﻠﺪﻭﻥ ﺃ‪‬ﺎ ﺗﺄﺳﺴﺖ ﺳﻨﺔ‬
‫)‪315‬ﻫـ‪927-‬ﻡ( ﺣﲔ ﺃﻣﺮ ﻋﻠﻲ ﺑﻦ ﲪﺪﻭﻥ ﺍﳉﹸﺬﺍﻣﻲ ﺑﺒﻨﺎﺋﻬﺎ ﻭﲢﺴﻴﻔﻬﺎ ﻭﲢﺼﻴﻨﻬﺎ ﻟﺘﻜﻮﻥ‬
‫ﻗﺎﻋﺪﺓ ﻋﺴﻜﺮﻳﺔ ﻭﲢﻮﻝ ﺑﻴﻨﻪ ﻭﺑﲔ ﻗﺒﺎﺋﻞ ﺯﻧﺎﺗﺔ ﺍﻟﺜﺎﺋﺮﺓ ﻭﺃﻃﻠﻖ ﻋﻠﻴﻬﺎ ﺍﺳﻢ ﺍﶈﻤﺪﻳﺔ‪ ،‬ﻭﰲ ﻫﺬﺍ ﻳﻘﻮﻝ‬
‫) ‪(3‬‬
‫ﺍﳌﺮﻭﺯﻱ " ‪:‬‬
‫ﺃﹸﺳ‪‬ﺴﺖ ﻋﻠﻰ ﺍﻟﺘ‪‬ـﻘﻮﻯ ﳏـﻤـﺪﻳﺔ‬ ‫ﰒﹼ ﺇﱃ ﻣـﺪﻳﻨــﺔ ﻣـﺮﺿﻴﺔ‬
‫ﺑﺎﻟﻨ‪‬ـﻮﺭ ﻣﻦ ﻃـﻠﻌﺘـﻪ ﺍﳌــﻀﻴ‪‬ﺔ‬ ‫ﺃﻗﺒﻞ ﺣﱴ‪ ‬ﺣﻠﹼــﻬﺎ ﺿـﺤﻴﺔ‬
‫ﻓـﻲ ﻫـﻴﺌﺔ ﻛـﺎﻣﻠﺔ ﺟـﻤﻴﻠـﺔ‬ ‫ﻓﺤﻞﹼ ﰲ ﻋﺴـﻜﺮﻩ ﺍﳌﺴﻴـﻠﺔ‬
‫ﻣﺎ ﻳﻼﺣﻆ ﻣﻦ ﺧﻼﻝ ﺍﻷﺑﻴﺎﺕ ﺃﻥﹼ ﺗﺴﻤﻴﺔ ﺍﳌﺴﻴﻠﺔ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ﻣﻨﺬ ﺍﻟﻘﺪﱘ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﺍﳌﻨﻄﻘﺔ ﻗﺪ ﺗﻌﺎﻗﺒﺖ ﻋﻠﻴﻬﺎ ﰲ ﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ ﻋﺪﺓ ﺩﻭﻝ ﺃﺷﻬﺮﻫﺎ ﺍﻟﺰﻳﺮﻳﺔ‬
‫ﻭﺍﳊﻤﺎﺩﻳﺔ ﻭﺍﳌﻮﺣﺪﻳﺔ‪ ،‬ﺗﺮﻛﺖ ﺑﺼﻤﺘﻬﺎ ﻓﻴﻬﺎ "ﻛﺘﺄﺳﻴﺲ ﻗﻠﻌﺔ ﺑﲏ ﲪﺎﺩ ﻭﻗﻠﻌﺔ ﺃﰊ ﻃﻮﻳﻞ ﻋﻠﻰ ﻳﺪ‬
‫ﺍﳌﻨﺼﻮﺭ ﺑﻦ ﺯﻳﺮﻱ ﺳﻨﺔ )‪ 398‬ﻫـ‪1007/‬ﻡ( ﺍﻟﺬﻱ ﺃﺫﻥ ﻟﻪ ﺑﺎﺩﻳﺲ ﺑﺒﻨﺎﺋﻬﺎ‪ ،‬ﺣﻴﺚ ﻧﻘﻞ ﻋﺪﺩﺍ ﻣﻦ‬
‫ﺳﻜﺎﻥ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﺃﻫﻞ ﲪﺰﺓ ﻭ ﺧﺮ‪‬ﻤﺎ ﻟﻴﻌﻤﺮﻫﺎ" )‪.(4‬‬

‫)‪ (1‬ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ﺍﳌﺨﺘﻠﻄﺔ ‪،‬ﺹ‪.20‬‬

‫)‪ (2‬ﺍﺑﻦ ﻋﺬﺍﺭﻯ‪ :‬ﺍﻟﺒﻴﺎﻥ ﺍﳌﻐﺮﺏ ﰲ ﺃﺧﺒﺎﺭ ﺍﻷﻧﺪﻟﺲ ﻭﺍﳌﻐﺮﺏ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﺝ‪.‬ﺱ‪.‬ﻛﻮﻻﻥ ﻭﻟﻴﻔﻲ ﺑﺮﻭﻓﻨﺴﺎﻝ ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﺑﲑﻭﺕ ﻁ‪1983 ،3‬ﻡ‪،‬ﺝ‪،1‬‬
‫ﺹ‪.215‬‬
‫)‪ (3‬ﺃﺑﻮ ﻋﺒﺪ ﺍﷲ ﺍﻟﺒﻜﺮﻱ‪ :‬ﺍﳌﺴﺎﻟﻚ ﻭﺍﳌﻤﺎﻟﻚ‪ ،‬ﲢﻘﻴﻖ ‪ :‬ﺃﺩﺭﻳﺎﻥ ﻓﺎﻥ ﻟﻴﻮﻓﻦ ﻭﺃﻧﺪﺭﻱ ﻓﲑﻱ‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﻜﺘﺎﺏ ﺗﻮﻧﺲ‪)،‬ﺩ‪.‬ﻁ( ‪1992‬ﻡ‪،‬ﺝ‪،2‬‬
‫ﺹ‪.724‬‬
‫)‪ (4‬ﺍﺑﻦ ﺧﻠﺪﻭﻥ‪ :‬ﺍﻟﻌﱪ ﻭﺩﻳﻮﺍﻥ ﺍﳌﺒﺘﺪﺃ ﻭﺍﳋﱪ ﰲ ﺃﻳﺎﻡ ﺍﻟﻌﺮﺏ ﻭﺍﻟﻌﺠﻢ ﻭﺍﻟﱪﺑﺮ ﻭﻣﻦ ﻋﺎﺻﺮﻫﻢ ﻣﻦ ﺫﻭﻱ ﺍﻟﺴﻠﻄﺎﻥ ﺍﻷﻛﱪ‪،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﻠﻤﻴﺔ‬
‫ﺑﲑﻭﺕ‪)،‬ﺩ‪،‬ﻁ( ‪2002‬ﻡ‪،‬ﺝ‪ ،6‬ﺹ‪724‬‬

‫‪- 46 -‬‬
 ‫ﻭﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﳒﺘﺎﺯ ﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ ﺩﻭﻥ ﺃﻥ ﻧﺘﻮﻗﻒ ﻋﻨﺪ ﺇﻧﺴﺎ‪‬ﺎ‪ ،‬ﻓﻘﺪ ﻋﺮﻓﺖ ﺍﳌﺴﻴﻠﺔ ﺗﺮﻛﻴﺒﺔ ﺑﺸﺮﻳﺔ‬
‫ﻣﺘﻨﻮ‪‬ﻋﺔ ﳝﺜﻠﻬﺎ ﺃﺳﺎﺳﺎ ﺍﻟﱪﺑﺮ‪ ،‬ﺍﻟﺬﻳﻦ ﻳﻌﺘﱪﻭﻥ ﺍﻟﺴﻜﺎﻥ ﺍﻷﺻﻠﻴﲔ ﻟﻠﻤﺴﻴﻠﺔ "ﻭﻗﺪ ﻛﺎﻧﻮﺍ ﻛﺜﲑﻱ ﺍﻟﻌﺪﺩ‬
‫ﻳﻘﻄﻨﻮﻥ ﺿﻮﺍﺣﻲ ﺗﻮﻧﺲ ﻭﺍﳉﺒﺎﻝ ﺍﳌﻄﻠﺔ ﻋﻠﻰ ﺍﳌﺴﻴﻠﺔ ﻭﺟﺒﻞ ﺍﻟﻘﻠﻌﺔ")‪.(1‬‬
‫ﺃﻣﺎ ﺍﻟﻌﺮﺏ ﻓﻠﻢ ﻳﺴﺘﻘﺮﻭﺍ ‪‬ﺎ ﺇﻻﹼ ﺑﻌﺪ ﺃﻥ ﺃﹸﻋﻴﺪ ﺑﻨﺎﺅ‪‬ﻫﺎ ﻣﻦ ﻃﺮﻑ ﺍﻟﻔﺎﻃﻤﻴﲔ‪" ،‬ﺣﻴﺚ ﺍﺳﺘﻘﺮ ‪‬ﺎ‬
‫ﺍﳌﻜﻠﻒ ﺑﺒﻨﺎﺋﻬﺎ ﻋﻠﻲ ﺑﻦ ﲪﺪﻭﻥ ﻣﻦ ﻋﺮﺏ ﺟﺬﺍﻡ ﺑﻦ ﻋﻠﻲ ﺑﻦ ﺍﳊﺎﺭﺙ ﺑﻦ ﻣﺮﺓ ﺑﻦ ﺛﻬﻼﻥ ﻭﻫﻢ ﻣﻦ‬
‫ﻋﺮﺏ ﺍﻟﻴﻤﻦ ﺍﻟﻘﺤﻄﺎﻧﻴﲔ")‪.(2‬‬
‫ﻛﻤﺎ ﻋﺮﻓﺖ ﺍﳌﻨﻄﻘﺔ ﺗﻮﺍﻓﺪ ﺍﻷﻧﺪﻟﺴﻴﲔ ﺍﻟﺬﻳﻦ ﺍﺳﺘﻘﺮﻭﺍ ‪‬ﺎ ﻫﺮﺑﺎ ﻣﻦ ﺍﻟﻈﺮﻭﻑ ﺍﻟﻘﺎﺳﻴﺔ ﺍﻟﱵ‬
‫ﻋﺮﻓﺘﻬﺎ ﺑﻼﺩﻫﻢ ﺁﻧﺬﺍﻙ ﻭﻣﻦ ﺑﲔ ﺍﻟﻮﺍﻓﺪﻳﻦ ﻋﻠﻰ ﺍﳌﻨﻄﻘﺔ ﺍﺑﻦ ﻫﺎﱐ ﺍﻷﻧﺪﻟﺴﻲ‪ ،‬ﻛﻤﺎ ﺗﻮﺍﻓﺪ ﻋﻠﻰ ﺍﳌﻨﻄﻘﺔ‬
‫ﺃﻳﻀﺎ ﻣﺎ ﻳﺴﻤﻰ ﺑﺄﻫﻞ ﺍﻟﺬﻣﺔ)*(‪ ،‬ﻭﻻ ﻧﻌﺮﻑ ﻋﻦ ﻭﺟﻮﺩ ﺍﳌﺴﻴﺤﻴﲔ ﺑﺎﳌﺴﻴﻠﺔ ﻏﲑ ﻣﺎ ﻳﺬﻛﺮﻩ ﺍﻟﺒﻜﺮﻱ‬
‫)ﺕ ‪487‬ﻫـ‪1094/‬ﻡ( ﰲ ﻗﻮﻟﻪ‪" :‬ﺑﻘﺒﻠﻲ ﻣﺪﻳﻨﺔ ﺍﳌﺴﻴﻠﺔ ﻣﻮﺿﻊ ﻳﻌﺮﻑ ﺑﺎﻟﻘﺒﺎﺏ")‪.(3‬‬
‫ﻭﺍﳌﻠﻔﺖ ﻟﻼﻧﺘﺒﺎﻩ ﺃﻳﻀﺎ ﺃﻥ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻋﺮﻓﺖ ﰲ ﺍﻟﻔﺘﺮﺓ ﺍﻹﺳﻼﻣﻴﺔ ﺑﺮﻭﺯ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻋﻼﻡ‬
‫ﰲ ﳐﺘﻠﻒ ﺍ‪‬ﺎﻻﺕ ﻧﺬﻛﺮ ﻣﻨﻬﻢ‪:‬‬
‫ﺃﺑﻮ ﺟﻌﻔﺮ ﺃﲪﺪ ﺑﻦ ﻧﺼﺮ ﺍﻟﺪﺍﻭﺩﻱ‪) :‬ﺕ ‪402‬ﻫـ‪1011/‬ﻡ( ﺍﻟﺬﻱ ﺃﻟﹼﻒ ﻛﺘﺎﺏ "ﺍﻟﻮﺍﰲ‬
‫ﰲ ﺍﻟﻠﻐﺔ" ﻭﻛﺘﺎﺏ "ﺍﻟﻨﺼﻴﺤﺔ" ﰲ ﺷﺮﺡ ﺻﺤﻴﺢ ﺍﻟﺒﺨﺎﺭﻱ ﻭﻫﻮ ﺃﻭﻝ ﺷﺮﺡ ﻟﺼﺤﻴﺢ ﺍﻟﺒﺨﺎﺭﻱ ﰲ‬
‫) ‪(4‬‬
‫ﺍﻹﺳﻼﻡ‪.‬‬

‫)‪ (1‬ﺍﺑﻦ ﺧﻠﺪﻭﻥ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺝ‪، 7‬ﺹ‪.171‬‬

‫)‪ (2‬ﺍﻟﻘﻠﻘﺸﻨﺪﻱ‪ :‬ﺎﻳﺔ ﺍﻷﺩﺏ ﰲ ﻣﻌﺮﻓﺔ ﺃﻧﺴﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﲢﻘﻴﻖ ‪ :‬ﺇﺑﺮﺍﻫﻴﻢ ﺍﻷﻧﺒﺎﺭﻱ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻁ‪1959 ،1‬ﻡ‪ ،‬ﺹ ‪.77‬‬
‫)*( ﺍﻟﺬﻣﺔ‪ :‬ﻛﻠﻤﺔ ﻣﻌﻨﺎﻫﺎ ﺍﻟﻌﻬﺪ ﻭﺍﻟﻀﻤﺎﻥ ﻭﺍﻷﻣﺎﻥ‪ ،‬ﻭﺇﳕﺎ ﲰﻮ ﺑﺬﻟﻚ ﻷﻥ ﳍﻢ ﻋﻬﺪ ﺍﷲ ﻭﻋﻬﺪ ﺭﺳﻮﻟﻪ ﻭﻋﻬﺪ ﲨﺎﻋﺔ ﺍﳌﺴﻠﻤﲔ ﺃﻥ ﻳﻌﻴﺸﻮﺍ ﰲ ﲪﺎﻳﺔ‬
‫ﺍﻹﺳﻼﻡ‪ ،‬ﻭﰲ ﻛﻨﻒ ﺍ‪‬ﺘﻤﻊ ﺍﻹﺳﻼﻣﻲ ﺁﻣﻨﲔ ﻣﻄﻤﺄﻧﲔ‪ ،‬ﺑﺸﺮﻁ ﺑﺬﳍﻢ ﺍﳉﺰﻳﺔ‪ ،‬ﻭﺍﻟﺘﺰﺍﻣﻬﻢ ﺃﺣﻜﺎﻡ ﺍﳌﺴﻠﻤﲔ ﰲ ﻏﲑ ﺍﻟﺸﺆﻭﻥ ﺍﻟﺪﻳﻨﻴﺔ‪ .‬ﻳ‪‬ﻨﻈﺮ‪ ،‬ﻳﻮﺳﻒ‬
‫ﺍﻟﻘﺮﺿﺎﻭﻱ‪ :‬ﻏﲑ ﺍﳌﺴﻠﻤﲔ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﻹﺳﻼﻣﻲ‪ ،‬ﺩﺍﺭ ﺍﻟﺸﻬﺎﺏ‪ ،‬ﺑﺎﺗﻨﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪.‬ﻁ(‪) ،‬ﺩ‪.‬ﺕ(‪ ،‬ﺹ‪.7‬‬
‫)‪ (3‬ﺍﻟﺒﻜﺮﻱ‪ :‬ﺍﳌﺴﺎﻟﻚ ﻭﺍﳌﻤﺎﻟﻚ‪ ،‬ﺝ‪ ،2‬ﺹ‪.21‬‬
‫‪- 47 -‬‬
‫ﻛﻤﺎ ﺑﺮﺯ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﺃﻳﻀﺎ ﺍﻟﺸﻴﺦ ﺍﻟﻔﺎﺿﻞ ﺃﺑﻮ ﻋﻠﻲ ﺍﳊﺴﻦ ﺑﻦ ﻋﻠﻲ ﺑﻦ ﳏﻤﺪ ﺍﳌﺴﻴﻠﻲ‬
‫ﺍﻟﺬﻱ ﲨﻊ ﺑﲔ ﺍﻟﻌﻠﻢ ﻭﺍﻟﻮﺭﻉ ﻭﺑﲔ ﻋﻠﻢ ﺍﻟﺒﺎﻃﻦ ﻭﺍﻟﻈﺎﻫﺮ ﻟﻪ ﻛﺘﺎﺏ "ﺍﻟﻨﱪﺍﺱ ﰲ ﺍﻟﺮﺩ‪ ‬ﻋﻠﻰ ﻣﻨﻜﺮﻱ‬
‫ﺍﻟﻘﻴﺎﺱ"‪.‬‬
‫ﺣﻴﺚ ﻳﺼﻒ ﺍﻟﻐﱪﻳﲏ )ﺕ‪704‬ﻫـ‪1104/‬ﻡ( ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻗﺎﺋﻼ "ﻫﻮ ﻛﺘﺎﺏ ﻣﻠﻴﺢ ﻋﻠﻰ‬
‫ﻣﺎ ﺃﺧﱪﺕ ﻋﻨﻪ‪ ،‬ﻭﱂ ﺃﺭﻩ‪ ،‬ﻭﺃﻧﺎﺷﺪ ﻳﺪ ﺍﳊﺮﺹ ﻋﻠﻴﻪ‪ ،‬ﻭﻟﻘﺪ ﺃﺧﱪﱐ ﺑﻌﺾ ﺍﻟﻄﻠﺒﺔ ﺍﳌﺘﻤﺴﻜﲔ ﺑﺎﻟﻈﺎﻫﺮ‬
‫ﻭﻫﻮ ﻣﻦ ﺃﻧﺒﻠﻬﻢ ﺃﻧﻪ ﺭﺃﻯ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﻭﺃﻧﻪ ﻣﺎ ﺭﺃﻯ ﰲ ﺍﻟﻜﺘﺐ ﺍﳌﻮﺿﻮﻋﺔ ﰲ ﻫﺬﺍ ﺍﻟﺸﺄﻥ ﻣﺜﻠﻪ‬
‫) ‪(1‬‬
‫ﻓﺄﻧﺸﺪﺗﻪ‪.‬‬
‫ﻭﺍﳊﺴﻦ ﻣﺎ ﺷﻬﺪﺕ ﺑﻪ ﺍﻷﻋﺪﺍﺀ‬ ‫ﻭﻣﻠﻴﺤﺔ ﺷﻬﺪﺕ ﳍﺎ ﺃﻋﺪﺍﺅﻫﺎ‬
‫ﻭﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﳒﺘﺎﺯ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﺩﻭﻥ ﺃﻥ ﻧﺘﻮﻗﻒ ﻋﻨﺪ ﺷﺨﺼﻴﺘﲔ ﻫﺎﻣﺘﲔ ﺟﺪ‪‬ﺍ ﻋﻠﻰ ﺻﻌﻴﺪ ﺍﻟﻨﻘﺪ‬
‫ﻭﺍﻷﺩﺏ ﳘﺎ‪:‬‬
‫ﻋﺒﺪ ﺍﻟﻜﺮﱘ ﺍﻟﻨﻬﺸﻠﻲ ﺻﺎﺣﺐ ﺍﺧﺘﻴﺎﺭ ﺍﳌﻤﺘﻊ ﻭﻫﻮ "ﻣﻦ ﻣﻮﺍﻟﻴﺪ ﺍﶈﻤﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻗﻀﻰ ‪‬ﺎ‬
‫ﺃﻳﺎﻡ ﺷﺒﺎﺑﻪ ﻭﺃﺧﺬ ﻣﺒﺎﺩﺋﻪ ﺍﻷﻭﻟﻴﺔ ﰒ ﺗﺎﻗﺖ ﻧﻔﺴﻪ ﻟﻠﻤﺰﻳﺪ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺔ ﻭﺍﻟﺘﺨﺼﺺ ﻓﺮﺣﻞ ﺇﱃ ﺍﻟﻘﲑﻭﺍﻥ‬
‫ﻭﻛﺎﻧﺖ ﺣﻴﻨﺬﺍﻙ ﺣﺎﺿﺮﺓ ﺍﻟﻌﻠﻢ ﻭﺍﻷﺩﺏ ﻭﺍﻟﺴﻴﺎﺳﺔ ﻓﻮﺟﺪ ﺗﺮﺣﻴﺒﺎ ﻣﻦ ﺷﻴﻮﺧﻬﺎ ﻭ ﺃﻣﺮﺍﺋﻬﺎ‪ ،‬ﻭﺑﺴﺮﻋﺔ‬
‫ﺑﺪﺍ ﳒﻤﻪ ﻳﻠﻤﻊ ﰲ ﺍﻷﺩﺏ ﻭﺍﻟﺸﻌﺮ ﻭﺍﻟﻨﻘﺪ‪ ،‬ﻓﻘﺪ ﻗﺎﻝ ﰲ ﳐﺘﻠﻒ ﺍﻷﻏﺮﺍﺽ ﺍﻟﺸﻌﺮﻳﺔ ﰲ ﺍﻟﻮﺻﻒ‬
‫ﻭﺍﻟﺮﺛﺎﺀ ﻭﺍﻟﺘﻐﲏ ﺑﺎﻟﻮﻃﻦ ﻛﺎﻥ ﳏﺘﺮﻣﺎ ﺑﲔ ﺃﺻﺪﻗﺎﺋﻪ ﻭﺗﻼﻣﻴﺬﻩ")‪.(2‬‬
‫ﺃﻣﺎ ﺗﻠﻤﻴﺬﻩ ﻓﻬﻮ ﺃﺑﻮ ﻋﻠﻲ ﺍﳊﺴﻦ ﺑﻦ ﺭﺷﻴﻖ ﺍﳌﺴﻴﻠﻲ ﺍﳌﻌﺮﻭﻑ ﺑﺎﻟﻘﲑﻭﺍﱐ ﺻﺎﺣﺐ "ﻛﺘﺎﺏ‬
‫ﺍﻟﻌﻤﺪﺓ"‪.‬‬
‫ﻳﻘﻮﻝ ﻋﻨﻪ ﻳﺎﻗﻮﺕ ﺍﳊﻤﻮﻱ‪":‬ﻛﺎﻥ ﺍﺑﻦ ﺭﺷﻴﻖ ﺷﺎﻋﺮﺍ ﳓﻮﻳﺎ ﻟﻐﻮﻳﺎ ﺃﺩﺑﻴﺎ ﺣﺎﺫﻗﺎ ﻋﺮﻭﺿﻴﺎ ﻛﺜﲑ‬
‫ﺍﻟﺘﺼﻨﻴﻒ ﻭﺣﺴﻦ ﺍﻟﺘﺄﻟﻴﻒ ﺗﺄﺩ‪‬ﺏ ﻋﻠﻰ ﳏﻤﺪ ﺑﻦ ﺟﻌﻔﺮ ﺍﻟﻘﺰ‪‬ﺍﺯ ﺍﻟﻨﺤﻮﻱ ﺍﻟﻘﲑﻭﺍﱐ ﻭﻏﲑﻫﻢ" )‪.(3‬‬

‫)‪ (1‬ﺍﻟﻐﱪﻳﲏ ﺃﲪﺪ ﺃﺑﻮ ﺍﻟﻌﺒﺎﺱ‪ :‬ﻋﻨﻮﺍﻥ ﺍﻟﺪﺭﺍﻳﺔ ﻓﻴﻤﻦ ﻋﺮﻑ ﰲ ﺍﳌﺎﺋﺔ ﺍﻟﺴﺎﺑﻌﺔ ﺑﺒﺠﺎﻳﺔ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﺭﺍﺑﺢ ﺑﻮﻧﺎﺭ‪ ،‬ﺍﻟﺸﺮﻛﺔ ﺍﻟﻮﻃﻨﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﻁ‪1981 ،2‬ﻡ‪،‬‬
‫ﺹ‪.67‬‬
‫)‪ (2‬ﺑﺸﲑ ﺧﻠﺪﻭﻥ‪ :‬ﺍﳊﺮﻛﺔ ﺍﻟﻨﻘﺪﻳﺔ ﻋﻠﻰ ﺃﻳﺎﻡ ﺍﺑﻦ ﺭﺷﻴﻖ‪ ،‬ﺍﻟﺸﺮﻛﺔ ﺍﻟﻮﻃﻨﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ‪.‬ﻁ(‪1981 ،‬ﻡ‪ ،‬ﺹ ‪.55‬‬
‫)‪ (3‬ﺍﳊﻤﻮﻱ‪ :‬ﻣﻌﺠﻢ ﺍﻷﺩﺑﺎﺀ‪ ،‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪) ،3‬ﺩ‪.‬ﺕ(‪ ،‬ﺹ‪.297‬‬
‫‪- 48 -‬‬
‫ﻋﻤﻮﻣﺎ‪ ،‬ﻓﺈﻥﹼ ﻣﻈﺎﻫﺮ ﺍﳊﻀﻮﺭ ﺍﻟﻔﻜﺮﻱ ﻭﺍﻟﺜﻘﺎﰲ ﲟﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻗﺪ ﺗﻨﻮﻋﺖ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺟﻌﻞ‬
‫ﻣﻨﻬﺎ ﻣﺮﻛﺰ ﺇﺷﻌﺎﻉ ﺛﻘﺎﰲ ﻭﺃﺩﰊ ﻭﻫﻮ ﻣﺎ ﺳﺎﻫﻢ ﰲ ﺫﻳﻌﺎﻥ ﺻﻴﺘﻬﺎ ﻟﺪﻯ ﺍﳊﻮﺍﺿﺮ ﺍ‪‬ﺎﻭﺭﺓ‪.‬‬
‫ﻭﱂ ﺗﺒﻖ ﺃﻣﻮﺭ ﺍﳌﺴﻴﻠﺔ ﻋﻠﻰ ﺣﺎﳍﺎ ﺇﺫ ﺳﺮﻋﺎﻥ ﻣﺎ ﻋﺮﻓﺖ ﺗﺮﺍﺟﻌﺎ ﻛﺒﲑﺍ ﺧﺎﺻﺔ ﺧﻼﻝ ﻓﺘﺮﺓ‬
‫ﺍﻹﻣﺎﺭﺍﺕ ﺍﻟﺜﻼﺙ ﺍﳊﻔﺼﻴﺔ ﻭﺍﻟﺰﻳﺎﻧﻴﺔ ﻭﺍﳌﺮﻳﻨﻴﺔ‪ ،‬ﺣﻴﺚ ﺷﻜﻠﺖ ﺍﳌﻨﻄﻘﺔ ﻧﻘﻄﺔ ﺗﺼﺎﺩﻡ ﻣﺴﺘﻤﺮ ﺑﲔ‬
‫ﺍﻹﻣﺎﺭﺍﺕ ﻷﺳﺒﺎﺏ ﺳﻴﺎﺳﻴﺔ ﻣﺘﻌﻠﻘﺔ ﺑﺎﻟﺮﻏﺒﺔ ﰲ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻬﺎ‪.‬‬
‫ﻭﻣﻨﺬ ﺫﻟﻚ ﺍﻟﻮﻗﺖ ﻭﺍﳌﻨﻄﻘﺔ ﰲ ﻓﻘﺮ ﻣﺪﻗﻊ ﻭ ﻋﻮﺯ ﺷﺪﻳﺪ‪ ،‬ﻳﺼﻔﻪ ﺍﳊﺴﻦ ﺍﻟﻮﺯﺍﻥ ﻗﺎﺋﻼ‪:‬‬
‫»ﺍﻟﺴﻜﺎﻥ ﻛﻠﻬﻢ ﺻﻨ‪‬ﺎﻉ ﺃﻭ ﻓﻼﺣﻮﻥ‪ ،‬ﻳﺮﺗﺪﻭﻥ ﻟﺒﺎﺳﺎ ﺭﺩﻳﺌﺎ ﻟﻔﻘﺮﻫﻢ ﺑﺴﺒﺐ ﺟﲑﺍ‪‬ﻢ ﺍﻷﻋﺮﺍﺏ ﺍﻟﺬﻳﻦ‬
‫ﻳﺴﻠﺒﻮ‪‬ﻢ ﻣﺪﺍﺧﻴﻠﻬﻢ‪ ،‬ﻭﻣﻠﻚ ﲜﺎﻳﺔ ﺍﻟﺬﻱ ﺃﺛﻘﻞ ﻛﺎﻫﻠﻬﻢ ﺑﺎﻟﻀﺮﺍﺋﺐ«)‪.(1‬‬
‫ﻟﺘﺴﺘﻤﺮ ﺍﻷﻭﺿﺎﻉ ﺍﳌﺘﺮﺩﻳﺔ ﻋﻠﻰ ﺣﺎﳍﺎ‪ ،‬ﺣﻴﺚ ﻓﻘﺪﺕ ﺍﳌﻨﻄﻘﺔ ﻣﻜﺎﻧﺘﻬﺎ ﺑﻔﻌﻞ ﺍﻻ‪‬ﻴﺎﺭ ﺍﳊﻀﺎﺭﻱ‬
‫ﻭﺍﻟﺘﺨﻠﻒ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻻﻧﻘﺴﺎﻣﺎﺕ ﺍﳌﺘﻌﺪﺩﺓ ﻟﻠﻌﺮﻭﺵ‪ ،‬ﺧﺎﺻﺔ ﺑﻌﺪ ﳎﻲﺀ ﺍﻷﺗﺮﺍﻙ ﺍﻟﺬﻳﻦ ﺳﻴﻄﺮﻭﺍ‬
‫ﻋﻠﻴﻬﺎ ﺑﻌﺪ ﺃﻥ ﺃﺷﻌﻠﻮﺍ ﻧﺎﺭ ﺍﻟﻔﺘﻨﺔ ﺑﲔ ﺃﻫﺎﻟﻴﻬﺎ ﻭﻋﺮﻭﺷﻬﺎ‪.‬‬
‫ﻓﻬﺬﻩ ﺍﻟﻌﻮﺍﻣﻞ ﳎﺘﻤﻌﺔ ﻣﻊ ﻏﲑﻫﺎ ﻣﻬﺪﺕ ﺍﻟﻄﺮﻳﻖ ﻓﻴﻤﺎ ﺑﻌﺪ ﺃﻣﺎﻡ ﺍﳉﻴﺶ ﺍﻟﻔﺮﻧﺴﻲ ﻭ ﲰﺤﺖ‬
‫ﻟﻪ ﺑﺎﻟﺘﻮﻏﻞ ﺩﺍﺧﻞ ﺍﳌﻨﻄﻘﺔ‪.‬‬
‫ﺝ‪ -‬ﻓﺘﺮﺓ ﺍﻻﺳﺘﻌﻤﺎﺭ ﺍﻟﻔﺮﻧﺴﻲ ‪:‬‬
‫ﺑﻌﺪ ﺳﺮﺩﻧﺎ ﻷﺣﺪﺍﺙ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﻟﻘﺪﳝﺔ‪ ،‬ﻧﺘﻮﻗﻒ ﻋﻨﺪ ﺃﻫـﻢ ﺣـﺪﺙ ﺗـﺎﺭﳜﻲ‬
‫ﻟﻠﻤﻨﻄﻘﺔ ﰲ ﺍﻟﻌﺼﺮ ﺍﳊﺪﻳﺚ ﺃﻻ ﻭﻫﻮ ﺍﻻﺳﺘﻌﻤﺎﺭ ﺍﻟﻔﺮﻧﺴﻲ ‪.‬‬
‫ﻭﻗﺪ ﺃﺷﺮﻧﺎ ﺳﺎﻟﻔﺎ ﺃﻥ ﺍﻟﺘﻨﺎﺣﺮﺍﺕ ﺑﲔ ﺍﻟﻌﺮﻭﺵ‪ ،‬ﺍﻟﱵ ﺃﺩ‪‬ﺕ ﺇﱃ ﺍﻧﻘﺴﺎﻡ ﻣﻨﻄﻘﺔ ﺍﳊﻀـﻨﺔ ﻋـﺪﺓ‬
‫ﺃﻗﺴﺎﻡ‪ ،‬ﻛﺎﻧﺖ ﺇﺣﺪﻯ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﱵ ﻣﻬﺪ‪‬ﺕ ﺍﻟﻄﺮﻳﻖ ﺃﻣﺎﻡ ﺍﳉﻴﺶ ﺍﻟﻔﺮﻧﺴﻲ ﻟﻠﺘﻮﻏﻞ ﰲ ﺍﳌﻨﻄﻘﺔ‪.‬‬
‫ﻟﻜﻦ‪ ‬ﺍﻷﻫﺎﱄ ﱂ ﻳﺘﻘﺒ‪‬ﻠﻮﺍ ﻓﻜﺮﺓ ﺍﻻﺣﺘﻼﻝ ﻭﺍﻏﺘﺼﺎﺏ ﺍﻷﺭﺍﺿﻲ‪ ،‬ﻭﲡﺴﺪ ﺫﻟﻚ ﺍﻟﺮﻓﺾ ﰲ ﻇﻬﻮﺭ‬
‫ﻋﺪﺓ ﻣﻘﺎﻭﻣﺎﺕ ﺃﳘﹼﻬﺎ ﻣﻘﺎﻭﻣﺔ ﳏﻤﺪ ﺑﻦ ﺑﻮﺧﻨﺘﺎﺵ ﺍﻟﱵ "ﻇﻬﺮﺕ ﰲ ﻋﺮﺵ ﺃﻭﻻﺩ ﺳﺤﻨﻮﻥ ﻭﴰﺎﻻ ﺇﱃ‬
‫ﻓﺮﻗﺔ ﺃﻭﻻﺩ ﻣﻨﺼﻮﺭ ﲜﺒﺎﻝ ﺍﳊﻀﻨﺔ‪ ،‬ﻭﺗﺰﻋﻢ ﺍﳊﺮﻛﺔ ﺃﺣﺪ ﺷﺨﺼﻴﺎﺕ ﻓﺮﻗﺔ ﺍﻟﱪﺍﻛﺘﻴـﺔ ﳏﻤـﺪ ﺑـﻦ‬
‫) ‪(2‬‬
‫ﺑﻮﺧﻨﺘﺎﺵ ﻣﻨﺬ ﻣﺎﺭﺱ ‪1860‬ﻡ"‪.‬‬

‫)‪ (1‬ﺍﳊﺴﻦ ﺑﻦ ﳏﻤﺪ ﺍﻟﻮﺯﺍﻥ ﺍﻟﻔﺎﺳﻲ‪ :‬ﻛﺘﺎﺏ ﻭﺻﻒ ﺇﻓﺮﻳﻘﻴﺔ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ﺻﺒﺤﻲ‪ ،‬ﳏﻤﺪ ﺍﻷﺧﻀﺮ‪ ،‬ﺍﻟﺮﺑﺎﻁ ‪)،‬ﺩ‪.‬ﻁ(‪1982 ،‬ﻡ‪ ،‬ﺝ‪2‬ﺹ‪.52‬‬
‫)‪ (2‬ﻛﻤﺎﻝ ﺑﲑﻡ ‪ :‬ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ﺍﳌﺨﺘﻠﻄﺔ ‪،‬ﺹ‪.50‬‬
‫‪- 49 -‬‬
‫ﻭﻗﺪ ﻛﺎﻥ ﳍﺬﻩ ﺍﳌﻘﺎﻭﻣﺔ ﺩﻭﺭ ﻛﺒﲑ ﰲ ﺣﺚﹼ ﺍﻟﺴﻜﺎﻥ ﻋﻠﻰ ﺍﳊﺮﺏ ﺿﺪ‪ ‬ﻓﺮﻧﺴﺎ ﻣـﻦ ﺧـﻼﻝ‬
‫ﻣﺸﺎﳜﺔ ﺍﳌﻨﻄﻘﺔ ‪.‬‬
‫ﻟﺘﺘﻮﺍﺻﻞ ﺑﻌﺪ ﺫﻟﻚ ﺍﳌﻘﺎﻭﻣﺎﺕ ﺍﶈﻠﻴ‪‬ﺔ ﺍﻟﻮﺍﺣﺪﺓ ﺗﻠﻮ ﺍﻷﺧﺮﻯ‪ ،‬ﻭﰲ ﻛﻞﹼ ﻣﻘﺎﻭﻣﺔ ﺗﺰﺩﺍﺩ ﺍﻟﺮﻏﺒﺔ ﰲ‬
‫ﺍﻻﺳﺘﻘﻼﻝ ﻭﺍﻧﺘﺰﺍﻉ ﺍﳊﺮﻳﺔ ‪.‬‬
‫ﺇﱃ ﺃﻥ ﻛﺎﻥ ﺗﺎﺭﻳﺦ ‪1954‬ﻡ‪ ،‬ﺃﻳﻦ ﺗﻮﺣ‪‬ﺪﺕ ﺍﻟﻜﻠﻤﺔ‪ ،‬ﻭﺍﻧﺪﻟﻌﺖ ﺍﻟﺜﻮﺭﺓ ﺍﻟﺘﺤﺮﻳﺮﻳﺔ ﺍﻟﻜـﱪﻯ‬
‫ﺿﺪ ﺍﻻﺳﺘﻌﻤﺎﺭ ﺍﻟﻔﺮﻧﺴﻲ ﺍﻟﻐﺎﺻﺐ‪ ،‬ﻓﻠﺒ‪‬ﻰ ﻧﺪﺍﺀﻫﺎ ﺳﻜﺎﻥ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﻛﺎﻧﺖ ﺟﺒﺎﻝ ﺍﳊﻀﻨﺔ ﻭﺑﻮﺳﻌﺎﺩﺓ‬
‫ﻭﺍﳌﻌﺎﺿﻴﺪ ﻭ ﻭﻧﻮﻏﺔ ﻭ ﺑﻮﻃﺎﻟﺐ‪...‬ﻣﻮﺍﻃﻦ ﻟﻠﺜﻮ‪‬ﺍﺭ ﺍﻟﺬﻳﻦ ﺿﺤﻮﺍ ﺑﺄﻧﻔﺴﻬﻢ ﻣﻦ ﺃﺟﻞ ﺍﺳﺘﻘﻼﻝ ﺍﳉﺰﺍﺋﺮ‪.‬‬
‫ﻭﻣﻦ ﺍﻟﺜﹼﻮﺍﺭ ﺍﻟﺒﻮﺍﺳﻞ ﺍﻟﺬﻳﻦ ﺃﳒﺒﺘﻬﻢ ﺍﳌﻨﻄﻘﺔ ﺍ‪‬ﺎﻫﺪ ﺍﻟﺸﻬﻴﺪ ﳏﻤﺪ ﺑﻮﺿﻴﺎﻑ ﺍﻟﺬﻱ ﻛﺎﻥ ﻭﺍﺣﺪ‪‬ﺍ‬
‫ﻣﻦ ﺃﺑﺮﺯ ﻣﻔﺠ‪‬ﺮﻱ ﺍﻟﺜﻮﺭﺓ ﺍﻟﺘﺤﺮﻳﺮﻳﺔ ‪.‬‬
‫ﻟﺘﺴﺘﻤﺮ ﺍﻟﺜﻮﺭﺓ ﺇﱃ ﺣﲔ ﲢﻘﻴﻖ ﺍﻻﺳﺘﻘﻼﻝ ﻳﻮﻡ ‪ 5‬ﺟﻮﻳﻠﻴﺔ ‪1962‬ﻡ‪.‬‬
‫ﺑﻌﺪ ﺍﻻﺳﺘﻘﻼﻝ‪ ،‬ﺍﲡﻬﺖ ﺍﳌﺴﻴﻠﺔ ﻋﻠﻰ ﻏﺮﺍﺭ ﺑﺎﻗﻲ ﻭﻻﻳﺎﺕ ﺍﻟﻮﻃﻦ ﺇﱃ ﺇﻋﺎﺩﺓ ﺑﻨـﺎﺀ ﻧﻔﺴـﻬﺎ‪،‬‬
‫ﻭﺗﺮﻣﻴﻢ ﻣﺎ ﺧﺮ‪‬ﺑﻪ ﺍﻻﺳﺘﻌﻤﺎﺭ‪.‬‬
‫ﻛﻤﺎ ﺷﻜﻠﺖ ﰲ ﻭﻗﺖ ﻻﺣﻖ ﻭﺍﺣﺪﺓ ﻣﻦ ﺃﻫﻢ‪ ‬ﻭﻻﻳﺎﺕ ﺍﻟﻮﺳﻂ‪ ،‬ﻭﻫﻲ ﺍﻟﻴﻮﻡ ﲢﻤﻞ ﺍﻟﺮﻗﻢ ﲦﺎﻧﻴﺔ‬
‫ﻭﻋﺸﺮﻭﻥ)‪(28‬ﻛﺮﻣﺰ ﻭﻻﺋﻲ ﳍﺎ‪ ،‬ﻭﺗﻈﻢ ﲬﺴﺔ ﻭﺃﺭﺑﻌﻮﻥ ﺑﻠﺪﻳﺔ‪ - ،‬ﺍﹸﻧﻈﺮ ﺍﳋﺮﻳﻄﺔ‪-‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ‪ ،‬ﻓﺈﻥﹼ ﺍﻟﺘ‪‬ﺘﺒﻊ ﺍﻟﺘﺎﺭﳜﻲ ﳌﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻋﻜﺲ ﺣﻘﻴﻘﺔ ﻻ ﺟﺪﺍﻝ ﻓﻴﻬﺎ‪ ،‬ﻭﻫـﻲ ﺃﻥ‬
‫ﺍﳌﻨﻄﻘﺔ ﺗﺎﺭﳜﻴﺔ ﻣﺘﺄﺻ‪‬ﻠﺔ ‪ ،‬ﺗﺎﺭﳜﻬﺎ ﺿﺎﺭﺏ ﰲ ﺍﳉﺬﻭﺭ ﻋﺮﻳﻖ ﻋﺮﺍﻗﺔ ﺍﳊﻀﺎﺭﺍﺕ ﺍﻟﱵ ﺗﻌﺎﻗﺒﺖ ﻋﻠﻴﻬـﺎ‪،‬‬
‫ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻭﺍﻹﺳﻼﻣﻴﺔ ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﻣﺎ ﺟﺎﻣﻊ ﺳﻴﺪﻱ ﺑﻮﲨﻠﲔ ﺑﻘﺒﺘﻪ ﺍﳋﻀﺮﺍﺀ‪ ،‬ﻭﻗﻠﻌﺔ ﺑﲏ ﲪ‪‬ﺎﺩ ﺑﻄﻠﺘﻬﺎ ﺍﻟﺒﻬﻴﺔ ﺇﻻ ﺍﺛﻨﺎﻥ ﻣﻦ ﻋﺪﺩ‬
‫ﻛﺜﲑ ﻻ ﻳﺰﺍﻝ ﺷﺎﻫﺪ‪‬ﺍ ﻋﻠﻰ ﻋﺮﺍﻗﺔ ﺍﻟﻮﻻﻳﺔ ﻭﻋﺮﺍﻗﺔ ﺃﻫﻠﻬﺎ‪.‬‬

‫‪- 50 -‬‬
 ‫ﺛﺎﻟﺜﺎ ‪ -‬اﻹﻃﺎر اﻟﻔﻮﻟﻜﻠﻮري ﻟﻠﻤﻨﻄﻘﺔ‬
‫‪ -1‬ﺗﻌﺮﻳﻒ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪:‬‬
‫ﻛﺜﲑ‪‬ﺍ ﻣﺎ ﲤﺮ‪ ‬ﺑﺄﺫﻫﺎﻧﻨﺎ ﻣﺼﻄﻠﺤﺎﺕ ﺷﻌﺒﻴﺔ ﻳﺼﻌﺐ ﻓﻬﻤﻬﺎ‪ ،‬ﺧﺎﺻﺔ ﺇﺫﺍ ﺗﻌﻠﻖ ﺍﻷﻣﺮ ﲟ‪‬ﺼﻄﻠﺤﺎﺕ‬
‫ﺃﺟﻨﺒﻴﺔ ﻭﺍﻟﱵ ﻣﻨﻬﺎ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ‪.‬‬
‫ﻓﻤﺎ ﻫﻮ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻳﺎ ﺗﺮﻯ؟‬
‫ﻳﺮﺗﺒﻂ ﺍﺻﻄﻼﺡ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ‪ Folklore‬ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ‪ ،‬ﻭﻣﻦ ﻧﺎﺣﻴﺔ ﺍﺑﺘﺪﺍﻋﻪ‬
‫) ‪(1‬‬
‫ﺑـ ﻭﻟﻴﻢ ﺟﻮﻥ ﺗﺮﻣﺰ ‪ w.j.Thoms‬ﻭﲜﻤﻌﻴﺔ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﺍﻻﳒﻠﻴﺰﻳﺔ‪.‬‬
‫ﻓﺈﺫﻥ‪ ،‬ﺃﺻﻞ ﺍﳌﺼﻄﻠﺢ ﻏﺮﰊ‪ ،‬ﺑﺪﻟﻴﻞ ﺃﻥﹼ ﺗﻮﻣﺰ ﻫﻮ ﺃﻭ‪‬ﻝ ﻣﻦ ﺻﺎﻍ ﺍﳌﺼﻄﻠﺢ‪ ،‬ﻭﲨﻌﻴﺔ‬
‫ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﺍﻹﳒﻠﻴﺰﻱ ﻫﻲ ﺍﻟﱵ ﺃﻛﺪ‪‬ﺕ ﻫﺬﺍ ﺍﻻﺻﻄﻼﺡ ‪.‬‬
‫ﰲ ﺣﲔ " ﻇﻞ ﺍﻷﳌﺎﻥ ﻳﺴﺘﺨﺪﻣﻮﻥ ﻣﺼﻄﻠﺤ‪‬ﺎ ﺁﺧﺮ ﻫﻮ ﺍﻟﻔﻮﻟﻜﺴﻜﻨﺪﺓ ‪ volk skand‬ﻓﺘﺮﺓ‬
‫ﻣﻦ ﺍﻟﺰﻣﻦ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺍﻟﻔﺮﻧﺴﻴﲔ ﺁﺛﺮﻭﺍ ﰲ ﺗﻠﻚ ﺍﳌﺮﺣﻠﺔ ﺍﺳﺘﻌﻤﺎﻝ ﺻﻴﻐﺔ " ﺩﺍﺭﺝ" ‪populaire‬‬
‫) ‪(2‬‬
‫ﻟﺘﻌﲏ ﺷﻌﺒﻴﺎ "‬
‫ﻭﻳﺘﺄﻟﻒ ﻣﺼﻄﻠﺢ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻣﻦ ﻣﻘﻄﻌﲔ ‪ Folk‬ﲟﻌﲎ ﺍﻟﻨﺎﺱ ﻭﻫﻲ ﻣﻦ ﺍﻟﻜﻠﻤﺔ ﺍﻹﳒﻠﻴﺰﻳﺔ‬
‫ﺍﻟﻘﺪﳝﺔ ‪ ،Folc‬ﻭ‪ Lore‬ﲟﻌﲎ ﻣﻌﺮﻓﺔ ﺃﻭ ﺣﻜﻤﺔ‪ ،‬ﻓﺎﻟﻔﻮﻟﻜﻠﻮﺭ ﺣﺮﻓﻴﺎ ﻳﺴﺎﻭﻱ ‪ ،‬ﻣﻌﺎﺭﻑ ﺍﻟﻨﺎﺱ‬
‫ﺃﻭ ﺣﻜﻤﺔ ﺍﻟﺸﻌﺐ‪.‬‬
‫ﻭﻗﺪ ﺍﺧﺘﻠﻔﺖ ﻭﺟﻬﺎﺕ ﺍﻟﻨﻈﺮ ﺣﻮﻝ ﺇﻋﻄﺎﺀ ﺗﻌﺮﻳﻒ ﻣﻮﺣ‪‬ﺪ ﻟﻌﻠﻢ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ‪ ،‬ﺣﻴﺚ ﺗﻌﺮ‪‬ﺽ‬
‫ﻃﻮﻣﺴﻮﻥ ﳍﺬﻩ ﺍﻟﻘﻀﻴﺔ ﻣﻌﺒ‪‬ﺮ‪‬ﺍ ﻋﻨﻬﺎ ﺑﻘﻮﻟﻪ‪ ":‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥﹼ ﻛﻠﻤﺔ ﻓﻮﻟﻜﻠﻮﺭ ﻗﺪ ﻣﻀﻰ ﻋﻨﻬﺎ ﺃﻛﺜﺮ‬
‫) ‪(3‬‬
‫ﻣﻦ ﻗﺮﻥ‪،‬ﻓﻠﻴﺲ ﻫﻨﺎﻙ ﺍﺗﻔﺎﻕ ﺗﺎﻡ ﻋﻠﻰ ﻣﺎ ﺗﻌﻨﻴﻪ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺔ "‬
‫ﰒ ﻳﻘﺮ‪ ‬ﺃﻥ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺸﺎﺋﻌﺔ ﰲ ﺍﻟﻮﻗﺖ ﺍﳊﺎﺿﺮ ﻫﻲ ﺃﻥ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻫﻮ ﺍﻟﺘ‪‬ﺮﺍﺙ‪ ،‬ﺇﻧﻪ ﺷﻲﺀ ﺍﻧﺘﻘﻞ‬
‫ﻣﻦ ﺷﺨﺺ ﺇﱃ ﺁﺧﺮ ﻭﺣ‪‬ﻔﻆ ﺇﻣﺎ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺬﺍﻛﺮﺓ ‪ ،‬ﺃﻭ ﺑﺎﳌﻤﺎﺭﺳﺔ‪ ،‬ﺃﻭ ﺃﻛﺜﺮ ﻣﻦ ﺃﻥ ﳛﻔﻆ ﻋﻦ‬
‫ﻃﺮﻳﻖ ﺍﻟﺴﺠﻞ ﺍﳌﺪﻭ‪‬ﻥ ‪.‬‬

‫)‪ (1‬ﻓﻮﺯﻱ ﺍﻟﻌﻨﺘﻴﻞ‪ :‬ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻣﺎ ﻫﻮ ؟ ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ‪ ،‬ﺩﺍﺭ ﺍﳌﺴﲑﺓ‪ ،‬ﻣﻜﺘﺒﺔ ﻣﺪﺑﻮﱄ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪،‬ﻁ‪1407 ،2‬ﻫـ‪1987-‬ﻡ‪،‬ﺹ‪.15‬‬
‫)‪ (2‬ﻧﺎﺩﻳﺎ ﺍﻟﺪﻣﺮﺩﺍﺵ‪،‬ﻋﻼ ﺗﻮﻓﻴﻖ‪ :‬ﻣﺪﺧﻞ ﺇﱃ ﻋﻠﻢ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪ ،‬ﺩﺭﺍﺳﺔ ﰲ ﺍﻟﺮﻗﺺ ﺍﻟﺸﻌﱯ‪ ،‬ﻋﲔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﺒﺤﻮﺙ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪،‬‬
‫ﺍﳍﺮﻡ‪،‬ﻁ‪1،1423‬ﻫـ‪2003‬ﻡ‪ ،‬ﺹ‪.14‬‬
‫)‪ (3‬ﻓﻮﺯﻱ ﺍﻟﻌﻨﺘﻴﻞ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ ‪،‬ﺹ‪.35‬‬
‫‪- 51 -‬‬
‫" ﻭﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪ Folkore‬ﻳﺸﻤﻞ ﻛﻞ ﺇﺑﺪﺍﻉ ﺗﻘﻠﻴﺪﻱ ﻟﺸﻌﺐ ﻣﻦ ﺍﻟﺸﻌﻮﺏ ﺳﻮﺍﺀ ﻛﺎﻥ ﺑﺪﺍﺋﻴﺎ ﺃﻭ‬
‫ﻣﺘﺤﻀ‪‬ﺮﺍ‪ ،‬ﻭﻫﺬﺍ ﺍﻹﺑﺪﺍﻉ ﻳﺘﺤﻘﻖ ﺑﺎﺳﺘﺨﺪﺍﻡ ﺍﻷﺻﻮﺍﺕ ﻭﺍﻟﻜﻠﻤﺎﺕ ﺷﻌﺮ‪‬ﺍ ﻭﻧﺜﹰﺮﺍ‪ ،‬ﻛﻤﺎ ﻳﻀﻢ‬
‫) ‪(1‬‬
‫ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﳋﺮﺍﻓﺎﺕ ﻭﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﳌﻤﺎﺭﺳﺎﺕ ﻭﺍﻟﺮﻗﺼﺎﺕ ﻭﺍﻷﻟﻌﺎﺏ ﺍﻟﺸﻌﺒﻴﺔ "‪.‬‬
‫ﻓﻌﻠﻢ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻌﺮﻳﻒ ﺍﻷﺧﲑ ﳎﺎﻟﻪ ﻭﺍﺳﻊ‪ ،‬ﻳﻀﻢ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﻣﻀﺎﻓﺎ ﺇﻟﻴﻪ‬
‫ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﳌﻤﺎﺭﺳﺎﺕ‪ ،‬ﻭﻫﻮ ﺃﻳﻀﺎ "ﺣﺼﻴﻠﺔ ﻧﺸﺎﻁ ﺍﻟﺸﻌﻮﺏ‪ ،‬ﺍﻟﻌﻤﻠﻲ ﻭﺍﻟﻔﻜﺮﻱ ﺍﻟﻘﺎﺋﻢ‬
‫ﻋﻠﻰ ﺍﺳﺘﻐﻼﻝ ﻇﺮﻭﻑ ﺍﻟﺒﻴﺌﺔ ﻭﺍﳌﻨﺎﺥ‪ ،‬ﻭﺍﳌﺘﺄﺛﺮ ﻣﻊ ﺍﻟﺒﻴﺌﺔ ﻭﺍﳌﻨﺎﺥ ﺑﻌﻮﺍﻣﻞ ﺍﻟﻨﺤﺖ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﺘﻐﻴ‪‬ﺮ‬
‫) ‪(2‬‬
‫ﺍﻟﺴﻴﺎﺳﻲ ﻭﺍﻟﻨﺤﻮ ﺍﻻﻗﺘﺼﺎﺩﻱ ﻣﻌ‪‬ﺎ "‪.‬‬
‫ﻓﻬﺬﺍ ﺍﻟﺘﻌﺮﻳﻒ ﻗﺼﺮ ﻣﻔﻬﻮﻡ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﰲ ﺷﻴﺌﲔ ﺍﺛﻨﲔ ﳘﺎ‪ :‬ﺍﻹﻧﺴﺎﻥ ﺑﻔﻜﺮﻩ ﻭﺍﻷﺭﺽ ﺍﻟﱵ‬
‫ﻳﻌﻴﺶ ﻋﻠﻴﻬﺎ‪ ،‬ﺑﺘﺄﺛﲑﺍ‪‬ﺎ ﺍﳌﺨﺘﻠﻔﺔ‪.‬‬
‫ﰲ ﺣﲔ ﻳﺬﻫﺐ " ﻟﻮﻣﺎﻻ ‪ " k.Loumala‬ﺇﱃ ﺃﻥﹼ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻳﻌﲏ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ)‪ (3‬ﻓﻬﻮ‬
‫ﻳﺸﲑ ﰲ ﺑﻌﺾ ﺍﳊﻴﺎﻥ ﺇﱃ ﻧﻮﻉ ﻣﻦ ﺍﻟﺘﺼﻨﻴﻒ ﻏﲑ ﳏﺪﺩ ﲢﺪﻳﺪﺍ ﺩﻗﻴﻘﺎ ﻟﻘﺼﺺ ﺗﺘﻤﻴ‪‬ﺰ ﻋﻦ ﺍﻷﺳﺎﻃﲑ‬
‫ﺑﺼﻮﺭﺓ ﻏﺎﻣﻀﺔ‪ ،‬ﻭﺫﻟﻚ ﻟﻜﻮﻥ ﳏﺘﻮﺍﻫﺎ ﻭﺩﻻﻟﺘﻬﺎ ﺃﻗﻞ ﺟﺪﻳﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﺮﻭ‪‬ﺍ‪‬ﺎ ﺍﻟﺒﺪﺍﺋﻴﲔ‪.‬‬
‫ﺇﻥﹼ ﺗﻌﺮﻳﻒ ﻟﻮﻣﺎﻻ ﻟﻠﻔﻮﻟﻜﻠﻮﺭ ﺿﻴ‪‬ﻖ ﺇﱃ ﺣﺪ‪ ‬ﺑﻌﻴﺪ‪ ،‬ﻷﻧﻪ ﻗﺼﺮ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﲢﺖ ﻣﺎ ﻳﺴﻤﻰ‬
‫ﺑﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺍﻟﱵ ﻫﻲ ﺟﺰﺀ ﻣﻦ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳌﻨﻘﻮﻝ ﺷﻔﺎﻫﺔ ‪.‬‬
‫ﻓﻬﺬﺍ ﺍﻻﺧﺘﻼﻑ ﺍﳌﺘﺒﺎﻳﻦ ﺣﻮﻝ ﻣﻔﻬﻮﻡ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻳﺪﻓﻌﻨﺎ ﺇﱃ ﺍﻹﳝﺎﻥ ﺑﺄﳘﻴﺔ ﺍﳌﺼﻄﻠﺢ ﻭﻣﺪﻯ‬
‫ﺍﺭﺗﺒﺎﻃﻪ ﲝﻴﺎﺓ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻴﻮﻣﻴﺔ‪ ".‬ﻓﻬﻮ ﺇﲤﺎﻡ ﻟﺮﺳﺎﻟﺔ ﺍﻟﺘﺎﺭﻳﺦ ‪ ،‬ﻷﻥ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﺗﺎﺭﻳﺦ ﻏﲑ ﻣﻜﺘﻮﺏ‬
‫ﻭﺇﳕﺎ ﻫﻮ ﺣﻲ ﰲ ﺍﻟﻨﻔﻮﺱ‪ ،‬ﻓﻬﻮ ﻣﻜﻤﻞ ﻟﻠﺘﺎﺭﻳﺦ ﺍﻟﻘﻮﻣﻲ‪ ،‬ﺑﻞ ﻫﻮ ﺭﻭﺡ ﺍﻟﻘﻮﻣﻴﺔ‪ ,‬ﻓﺎﻟﺘﺎﺭﻳﺦ ﻣﻨﺸﺄﻩ‬
‫ﺍﻟﻌﻘﻞ ﺍﳌﺪﺭﻙ ﻟﺬﻟﻚ ﺍﻟﻮﻃﻦ‪...‬ﺃﻣﺎ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻓﻬﻮ ﺍﻟﺸﻌﻮﺭ ﺍﳋﻔﻲ ﺑﺬﻟﻚ ﺍﻟﻮﻃﻦ ﻭﻫﻮ ﺍﻟﻜﻴﺎﻥ ﺍﳊﻲ‬
‫) ‪(4‬‬
‫ﻟﻠﻘﻮﻣﻴﺔ ﺍﳌﻨﺪﳎﺔ ﰲ ﺍﻟﻮﺟﺪﺍﻥ ﺍﳌﺘﺤﻜﻢ ﰲ ﺍﻟﻌﻘﻞ ﺍﻟﺒﺎﻃﻦ"‪.‬‬
‫ﻓﺎﻟﻔﻮﻟﻜﻠﻮﺭ ﺇﺫﻥ ﺟﺰﺀ ﻻ ﻳﺘﺠﺰ‪‬ﺃ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻷﻧﻪ ﻣﻜﹼﻤﻞ ﻟﻪ‪ ،‬ﻭﻣﺎﺩﺍﻡ ﻭﺟﻮﺩ ﺍﻷﻣﺔ ﻣﺮﺗﺒﻂ‬
‫ﺑﺘﺎﺭﳜﻬﺎ ﻓﺄﺑﺪﺍ ﻣﺎ ﻋﺎﺷﺖ ﺃﻣﺔ ﻻ ﺗﺎﺭﻳﺦ ﳍﺎ ﺑﻞ ﻻ ﻓﻮﻟﻜﻠﻮﺭ ﳍﺎ ‪.‬‬

‫)‪ (1‬ﻧﺎﺩﻳﺔ ﺍﻟﺪﻣﺮﺩﺍﺵ‪ ،‬ﻋﻼ ﺗﻮﻓﻴﻖ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.16‬‬

‫)‪ (2‬ﻓﺎﺭﻭﻕ ﺧﻮﺭﺷﻴﺪ ‪ :‬ﺃﺩﺏ ﺍﻟﺴﲑﺓ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻨﺎﺷﺮ‪ ،‬ﻣﻜﺘﺒﺔ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺪﻳﻨﻴﺔ‪) ،‬ﺩ‪.‬ﻁ(‪) ،‬ﺩ‪ .‬ﺕ(‪ ،‬ﺹ‪.04‬‬
‫)‪ (3‬ﻓﻮﺯﻱ ﺍﻟﻌﻨﺘﻴﻞ‪ :‬ﺍﻟﻔﻮﺭﻟﻜﻠﻮﺭ ﻣﺎ ﻫﻮ ؟‪ ،‬ﺹ‪.38‬‬
‫)‪ (4‬ﻋﻔﺎﻑ ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ ﺯﻫﺮﺍﻥ‪ :‬ﺃﺛﺮ ﺍﻟﺘﻐﲑﺍﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻋﻠﻰ ﺍﻟﺮﻗﺺ ﺍﻟﺸﻌﱯ ﰲ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺴﺎﺣﻠﻴﺔ‪ ،‬ﺭﺳـﺎﻟﺔ ﻣﺎﺟﺴـﺘﲑ ﻏـﲑ ﻣﻨﺸـﻮﺭﺓ‪،‬‬
‫ﺍﻹﺳﻜﻨﺪﺭﻳﺔ‪ ،‬ﻛﻠﻴﺔ ﺍﻟﺘﺮﺑﻴﺔ ﺍﻟﺮﻳﺎﺿﻴﺔ ﺑﻨﺎﺕ ﺟﺎﻣﻌﺔ ﺣﻠﻮﺍﻥ ‪1975‬ﻡ‪،‬ﺹ‪ ،53‬ﻧﻘﻼ ﻋﻦ‪ :‬ﻧﺎﺩﻳﺎ ﺍﻟﺪﻣﺮﺍﺵ‪ ،‬ﻋﻼ ﺗﻮﻓﻴﻖ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.14‬‬
‫‪- 52 -‬‬
 ‫‪ -2‬ﻣﻈﺎﻫﺮ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﰲ ﺍﳌﻨﻄﻘﺔ ‪:‬‬
‫ﺇﻥﹼ ﻟﻠﻔﻮﻟﻜﻠﻮﺭ ﻣﺎﺩﺓ ﻳﻘﻮﻡ ﻋﻠﻴﻬﺎ‪ ،‬ﺗﻌﺘﻤﺪ ﺃﺳﺎﺳ‪‬ﺎ" ﻋﻠﻰ ﲨﻴﻊ ﻣﻮﺍﺩ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺄﺛﻮﺭﺓ ﻭﻗﺪ‬
‫ﺗﻜﻮﻥ ﳍﺬﻩ ﺍﳌﻮﺍﺩ ﻋﻼﻗﺎﺕ ﺃﺩﺑﻴﺔ‪ ،‬ﻭﻗﺪ ﺗﻜﻮﻥ ﻣﺪﻭﻧﺔ ﰲ ﺷﻜﻞ ﻣﺎ‪ ،‬ﻭﻗﺪ ﲤﺪ‪ ‬ﺗﺄﺛﲑﻫﺎ ﰲ ﺍﻟﺪﻭﺍﺋﺮ‬
‫) ‪(1‬‬
‫ﺍﻟﺜﻘﺎﻓﻴﺔ ﺃﻭ ﰲ ﺍﻟﺘﺮﺍﺙ ﺍﻷﺩﰊ ‪ ،‬ﻭﻗﺪ ﲢﻤﻞ ﻫﻲ ﻋﻨﺎﺻﺮ ﺛﻘﺎﻓﻴﺔ ﺃﻭ ﺃﺩﺑﻴﺔ ﻣﻼﺋﻤﺔ "‬
‫ﻛﻤﺎ ﺃﻥﹼ ﻫﺬﺍ ﺍﻟﺘﻨﻮ‪‬ﻉ ﰲ ﺍﻟﻔﻨﻮﻥ ﺍﻟﺸ‪‬ﻌﺒﻴﺔ ﺍﻟﱵ ﺗﺸﻜﹼﻞ ﻣﺎﺩﺓ ﻟﻠﻔﻮﻟﻜﻠﻮﺭ‪ ،‬ﻟﻦ ﺗ‪‬ﺤﻤﻞ ‪‬ﺬﺍ ﺍﻻﺳﻢ‬
‫ﺃﻱ ﺍﺳﻢ ﻓﻮﻟﻜﻠﻮﺭ ﺇﻻ ﺇﺫﺍ ﻛﺎﻧﺖ ﲡﺮﻱ ﺃﻭ ﺗﻜﻮﻥ ﻗﺪ ﺟﺮﺕ ﺧﻼﻝ ﺫﺍﻛﺮﺓ ﺍﻹﻧﺴﺎﻥ ‪ ،‬ﻛﻤﺎ ﻳ‪‬ﺸﺘﺮﻁ‬
‫ﺃﻥ ﺗﻜﻮﻥ ﻣﻮﺭﻭﺛﺔ ﻣﻦ ﺟﻴﻞ ﺇﱃ ﺟﻴﻞ ﺑﻮﺍﺳﻄﺔ ﺍﻟﻜﻠﻤﺔ ﺍﳌﻨﻄﻮﻗﺔ ﺃﻭ ﺍﻟﻔﻌﻞ ﺍﳌﻘﺘﺪ‪ ،‬ﺃﻛﺜﺮ ﳑ‪‬ﺎ ﻳﻜﻮﻥ ﻋﻦ‬
‫ﻃﺮﻳﻖ ﺍﻟﺼﺤﻴﻔﺔ ﺍﳌﻄﺒﻮﻋﺔ ‪.‬‬
‫ﻭﻳﺬﻫﺐ ﻓﻮﺯﻱ ﺍﻟﻌﻨﺘﻴﻞ)‪ (2‬ﺇﱃ ﺟﻌﻞ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﰲ ﳎﺎﻟﲔ ‪:‬‬
‫ﺍﻷﻭﻝ ﻳﻜﻮﻥ ﻓﻴﻤﺎ ﻳﺴﻤ‪‬ﻰ ﺑﺎﻷﳕﺎﻁ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﻠﻐﻮﻳﺔ ﻭﺍﻟﻌﻠﻤﻴﺔ ﻟﻠﻔﻮﻟﻜﻠﻮﺭ ﻣﺜﻞ‪) :‬ﺍﻷﺳﺎﻃﲑ‬
‫ﻭﺍﻟﺸﻌﺮ ﺍﻟﺸﻌﱯ ‪ ،‬ﻭﺍﻷﻣﺜﺎﻝ‪ ،‬ﻭﺍﻷﻟﻐﺎﺯ ﻭﺍﻟﺴﺤﺮ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ (‪.‬‬
‫ﻭﺍﻟﺜﺎﱐ ﻳﻜﻮﻥ ﰲ ﺍﳌﻤﺎﺭﺳﺎﺕ ﻓﻴﻤﺎ ﻳﺴﻤ‪‬ﻰ ﺑﺄﳕﺎﻁ ﺍﻷﻓﻌﺎﻝ ﻭﺍﻟﱵ ﺗﻨﺸﺪ‪ -‬ﻏﺎﻟﺒﺎ‪ -‬ﺍﺳﺘﺨﺪﺍﻣﺎ ﻓﻨﻴ‪‬ﺎ‬
‫ﻟﻠﺤﺮﻛﺔ ﺍﳉﺴﻤﻴﺔ ﻣﺜﻞ‪ :‬ﺍﻟﺮﻗﺺ‪ ،‬ﻭﺍﻷﻟﻌﺎﺏ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﺍﻟﺘﻤﺜﻴﻞ‪ ،‬ﻭﺍﻻﺣﺘﻔﺎﻻﺕ‪...‬‬
‫ﺇﺫﻥ‪ ،‬ﻓﻌﺎﱂ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻓﺴﻴﺢ ﺳﻴﺴﻤﺢ ﻟﻨﺎ ﺑﺄﻥ ﻧﺴﺒﺢ ﰲ ﺃﺭﺟﺎﺋﻪ ﺍﳌﻤﺘﻌﺔ‪ ،‬ﻭﻧﻨﻬﻞ ﻣﻨﻬﺎ ﺩﻭﻥ‬
‫ﻋﻨﺎﺀ‪ ،‬ﺧﺎﺻﺔ ﻭﺃﻥﹼ ﺩﺭﺍﺳﺘﻨﺎ ﻟﻠﻔﻮﻟﻜﻠﻮﺭ ﻣﺘﻌﻠﻘﺔ ﺑﻌﺎﺻﻤﺔ ﺍﳊﻀﻨﺔ ﺍﳌﺴﻴﻠﺔ‪.‬‬
‫ﻓﻴﺎ ﺗ‪‬ﺮﻯ ﻣﺎ ﲡﻠﻴﺎﺕ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻔﻮﻟﻜﻠﻮﺭﻳﺔ ﺑﺎﳌﻨﻄﻘﺔ ؟‬
‫ﻟﻘﺪ ﺗﻨﻮ‪‬ﻋﺖ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻔﻮﻟﻜﻠﻮﺭﻳﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﺗﺒﺎﻳﻨﺖ ﻣﻈﺎﻫﺮﻫﺎ‪ ,‬ﳍﺬﺍ ﺍﺭﺗﺄﻳﻨﺎ ﺃﻥ‬
‫ﻧﺘﻮﻗﻒ ﻋﻨﺪ ﺃﳘﻬﺎ ﻭﺍﻟﱵ ﲤﺜﹼﻠﻬﺎ‪:‬‬
‫ﺃ‪ -‬ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ‪:‬‬
‫ﺇﻥﹼ ﲨﻠﺔ ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻟﱵ ﲤﺎﺭﺳﻬﺎ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺗﻀﻔﻲ ﲰﺔ‬
‫ﺃﺳﺎﺳﻴﺔ ‪ ،‬ﺗﺘﺠﻠﹼﻰ ﰲ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﻴﻮﻣﻴﺔ ﻭﺍﳌﻮﲰﻴﺔ‪ ،‬ﻭﺍﻟﱵ ﺗﻌﻤﻞ ﻋﻠﻰ ﺩﻣﺞ ﺍﻟﻔﺮﺩ ﰲ ﺇﻃﺎﺭ‬
‫ﺍﳉﻤﺎﻋﺔ‪ ،‬ﻳﺘﻮﻟﺪ ﻋﻨﻬﺎ ﺑﺚ ﺭﻭﺡ ﺍﻟﺘﻌ‪‬ﺎﻭﻥ ﻭﺍﻟﺘﻜﺎﻣﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﻣﻦ ﺑﲔ ﻣﻈﺎﻫﺮﻫﺎ ﳒﺪ‪:‬‬

‫)‪(1‬‬
‫ﻓﻮﺯﻱ ﺍﻟﻌﻨﺘﻴﻞ ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ ‪،‬ﺹ‪.67‬‬
‫)‪(2‬‬
‫ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪:‬ﺹ‪.67‬‬
‫‪- 53 -‬‬
‫ﺍﻟﺘﻮﻳﺰﺓ‪ :‬ﺍﻟﱵ ﻫﻲ ﻣﻦ ﺍﻟﻌﺎﺩﺍﺕ ﺍﻟﻀﺎﺭﺑﺔ ﰲ ﺍﻟﻘﺪﻡ‪ ،‬ﻭﺍﳌﺘﺮﺳﺨﺔ ﺑﲔ ﺃﻫﺎﱄ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ‬
‫ﲤﺜﻞ ﻣﻈﻬﺮﺍ ﻣﻦ ﺃﻫﻢ‪ ‬ﻣﻈﺎﻫﺮ ﺍﻟﺘ‪‬ﻜﺎﻓﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﺣﻴﺚ ﺗﺘﻌﺎﻭﻥ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻣﻦ‬
‫ﺃﺟﻞ ﻣﺴﺎﻋﺪﺓ ﺃﺣﺪ ﺍﻷﻓﺮﺍﺩ ﻣﻦ ﺩﻭﻥ ﻣﻘﺎﺑﻞ ﻋﻤﻼ ﺑﻘﻮﻟﻪ ﺗﻌﺎﱃ ‪ ‬ﻭ‪‬ﺗ‪‬ﻌ‪‬ﺎﻭ‪‬ﻧ‪‬ﻮﺍﹾ ﻋ‪‬ﻠﹶﻰ ﺍﻟﹾﱪ‪ ‬ﻭ‪‬ﺍﻟﺘ‪‬ﻘﹾﻮ‪‬ﻯ ﻭ‪‬ﻻﹶ‬
‫‪(1 ).‬‬
‫ﺗ‪‬ﻌ‪‬ﺎﻭ‪‬ﻧ‪‬ﻮﺍﹾ ﻋ‪‬ﻠﹶﻰ ﺍﻹِﺛﹾﻢﹺ ﻭ‪‬ﺍﻟﹾﻌ‪‬ﺪ‪‬ﻭ‪‬ﺍﻥ‪ ‬‬
‫ﻭﻗﻮﻟﻪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ‪ » :‬ﻣﻦ‪ ‬ﻧﻔﹼﺲ ﻋﻦ‪ ‬ﻣﺆ‪‬ﻣ‪‬ﻦ ﻛﺮ‪‬ﺑﺔ ﻣ‪‬ﻦ‪ ‬ﻛﺮﺏﹺ ﺍﻟﺪﻧﻴﺎ‪ ،‬ﻧﻔﺲ ﺍﷲ ﻋ ‪‬ﻨﻪ‬
‫ﻛﹸﺮ‪‬ﺑﺔ ﻣ‪‬ﻦ‪ ‬ﻛﹸﺮﺏﹺ ﻳﻮ‪‬ﻡﹺ ﺍﻟﻘﻴﺎﻣﺔ‪ (2) .«‬ﺭﻭﺍﻩ ﺃﺑﻮ ﻫﺮﻳﺮﺓ‬
‫ﺇﻥﹼ ﺍﻟﺘﻮﻳﺰﺓ ﻋﺎﺩﺓ ﲪﻴﺪﺓ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﺣﻴﺚ ﺗﺴﺎﻫﻢ ﰲ ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﺍ‪‬ﺘﻤﻊ ﺍﶈﻠﹼﻲ ﻣﻦ ﺧﻼﻝ‬
‫ﺭﺑﻄﻬﺎ ﺑﲔ ﺃﻓﺮﺍﺩﻩ ﻭﺿﻤﺎﻥ ﺗﻜﺎﻓﻠﻬﻢ ‪.‬‬
‫ﻓﻔﻲ ﻣﻮﺳﻢ ﺍﳊﺼﺎﺩ ﻣﺜﻼ‪ ،‬ﺗﺘﻌﺎﻭﻥ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻋﻠﻰ ﲨﻊ ﺍﶈﺼﻮﻝ‬
‫) ‪(3‬‬
‫ﻭﺩﺭﺳﻪ‪ ،‬ﻭﻫﻢ ﻳﺮﺩ‪‬ﺩﻭﻥ ﺍﻷﻏﺎﱐ ﺍﻟﺸﻌﺒﻴﺔ ﻗﺎﺋﻠﲔ ‪:‬‬
‫) ‪(4‬‬
‫ﺍﻟﻄﹾﺮﹺﻳﻖ‪ ‬ﺍﳌﹶﻌ‪‬ﻠﹸﻮﻣ‪‬ﺔ ﺗ‪‬ﺒ‪‬ﺎﻥﹾ‬
‫ﺍﻟﻠ‪ّ‬ﻲ ﺷﻘﹶّﺖ‪ ‬ﻟﹶﺠ‪‬ﺒ‪‬ﺎﹾﻝ‬
‫) ‪(5‬‬
‫ﺍﻟﻠ‪ّ‬ﻲ ﻣﻦ‪ ‬ﺯ‪‬ﺍﺭ‪‬ﻙ‪ ‬ﻳ‪‬ﺎﺫﹶﺍﻙ‪ ‬ﺍﻟﻮ‪‬ﺍﻟ‪‬ﻲ‬
‫ﻳ‪‬ﺮ‪‬ﻭ‪‬ﺡ‪ ‬ﻓﹶﺮ‪‬ﺣ‪‬ﺎﻥﹾ‬
‫) ‪(6‬‬
‫ﻭﻳﻘﻮﻟﻮﻥ ﺃﻳﻀﺎ ‪:‬‬
‫ﺍﻟﺼ‪‬ﻼﹶﺓﹾ ﻋ‪‬ﻠﹶﻰ ﺍﻟﻨ‪‬ﱯ‬
‫ﺍﻟﺼ‪‬ﻼﹶﺓﹾ ﻋ‪‬ﻠﹶﻰ ﺍﻟﻨ‪‬ﱯ‬
‫ﺻ‪‬ﻠﱠﻰ ﺍﻟﻠﱠﻪ ﻋ‪‬ﻠ‪‬ﻴ‪‬ﻪ ﻭ‪‬ﺳ‪‬ﻠﱠﻢ‪‬‬

‫)‪ (1‬ﺳﻮﺭﺓ ﺍﳌﺎﺋﺪﺓ‪ :‬ﺍﻵﻳﺔ ‪. 02‬‬

‫)‪ (2‬ﺃﺑﻮ ﺍﳊﺴﻦ ﻣﺴﻠﻢ ﺑﻦ ﺣﺠﺎﺝ ﺑﻦ ﻣﺴﻠﻢ ﺍﻟﻘﺸﺮﻱ ﺍﻟﻨﻴﺴﺎﺑﻮﺭﻱ‪ :‬ﺻﺤﻴﺢ ﻣﺴﻠﻢ ﺍﳌﺴﻤﻰ ﺍﳉﺎﻣﻊ ﺍﻟﺼﺤﻴﺢ‪ ،‬ﺑﺎﺏ ﻓﻀﻞ ﺍﻻﺟﺘﻤﺎﻉ ﻋﻠﻰ ﺗﻼﻭﺓ ﺍﻟﻘﺮﺁﻥ‬
‫ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ‪ ،‬ﺑﲑﻭﺕ‪،‬ﻁ‪2001 ،1‬ﻡ‪،‬ﺝ‪،13‬ﺹ‪.212‬‬
‫)‪ (3‬ﺍﻟﺮﺍﻭﻱ‪ :‬ﺏ‪،‬ﻣﺒﺎﺭﻙ‪ ،‬ﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪1936‬ﻡ‪ ،‬ﺛﻘﺎﻓﺔ ﻣﺘﻮﺳﻄﺔ‪ ،‬ﺑﺮﻫﻮﻡ ‪.‬‬
‫)‪ (4‬ﺗ‪‬ﺒ‪‬ﺎﻥﹾ ‪ :‬ﺗ‪‬ﻈﹾﻬ‪‬ﺮ‪. ‬‬
‫)‪ (5‬ﺍﻟﻮﺍﱄ‪ :‬ﻳ‪‬ﻘﺼﺪ ‪‬ﺎ ﺍﻟﻮﱄ ﺍﻟﺼﺎﱀ ‪.‬‬
‫)‪ (6‬ﺍﻟﺮﺍﻭﻱ‪ :‬ﺏ ‪،‬ﻣﺒﺎﺭﻙ ﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪1936‬ﻡ‪ ،‬ﺛﻘﺎﻓﺔ ﻣﺘﻮﺳﻄﺔ‪ ،‬ﺑﺮﻫﻮﻡ‪.‬‬
‫‪- 54 -‬‬
 ‫ﺫﹾﺭ‪‬ﺍﺭﹺﻱ )‪ (1‬ﺷ‪‬ﺒ‪‬ﺎﺏ‪ ‬ﺻ‪‬ﻐ‪‬ﺎﺭ‪‬‬
‫ﻃﹶﺎﺣ‪‬ﻮﺍ ﻓ‪‬ﻲ ﻗﹶﻤ‪‬ﺢ‪ ‬ﻣ‪‬ﺴ‪‬ﺒ‪‬ﻞﹾ‬
‫) ‪(2‬‬
‫ﺣ‪‬ﻄﱡﻮ‪‬ﻩ ﻗﹾﻤ‪‬ﺎﺭ ﻗﹾﻤ‪‬ﺎﺭ‪‬‬
‫ﻭ‪‬ﻳ‪‬ﺎ ﺑ‪‬ﻨﹺﻲ ﺍﻟﻠﹾﻪ ﺃﹶﻛﺒ‪‬ﺮ‪‬‬
‫ﺍﻟﺼ‪‬ﻼﹶﺓﹾ ﻋ‪‬ﻠﹶﻰ ﺍﻟﻨ‪‬ﱯ‬
‫ﺍﻟﺼ‪‬ﻼﹶﺓﹾ ﻋ‪‬ﻠﹶﻰ ﺍﻟﻨ‪‬ﱯ‬
‫ﺻ‪‬ﻠﹶﻰ ﺍﻟﻠﹼﻪ‪ ‬ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ،‬ﺻ‪‬ﻠﱠﻰ ﺍﻟﻠﱠﻪ‪ ‬ﻋ‪‬ﻠ‪‬ﻴ‪‬ﻪ ﻭ‪‬ﺳ‪‬ﻠﱠﻢ‪‬‬
‫ﺇﻥﱠ ﳍﺬﻩ ﺍﻷﻏﺎﱐ ﺍﻟﱵ ﺗﺮﺩ‪‬ﺩﻫﺎ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﺃﺛﺮ ﺑﺎﺭﺯ ﰲ ﺍﻟﺘﺮﻭﻳﺢ ﻋﻦ ﺍﳊﺼ‪‬ﺎﺩﻳﻦ‬
‫ﻣﻦ ﺧﻼﻝ ﺍﻟﺪﻭﺭ ﺍﻟﻨﻔﺴﺎﱐ ﺍﻟﺬﻱ ﺗﺆﺩﻳﻪ‪ ،‬ﲝﻴﺚ ﺗﻨﺴﻴﻬﻢ ﻣﺘﺎﻋﺐ ﺍﳊﺮﻓﺔ ﻭﺣﺮﺍﺭﺓ ﺍﳉﻮ‪ ،‬ﻭﺗﺰﺭﻉ ﰲ‬
‫ﻧﻔﻮﺳﻬﻢ ﺣﺒ‪‬ﻬﺎ‪ ،‬ﻭﺍﻹﺳﺮﺍﻉ ﰲ ﺇﳒﺎﺯﻫﺎ ﻭﺇﺗﻘﺎ‪‬ﺎ ‪.‬‬
‫ﻛﻤﺎ ﺗﻌﻜﺲ ﻫﺬﻩ ﺍﻷﻏﺎﱐ ﺍﻟﻨﺰﻋﺔ ﺍﻟﺪﻳﻨﻴﺔ ﺍﻹﺳﻼﻣﻴﺔ ﻷﻫﺎﱄ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻭﻣﺪﻯ ﺍﺭﺗﺒﺎﻃﻬﻢ ﺑﺪﻳﻨﻬﻢ‬
‫ﺍﳊﻨﻴﻒ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺬﹼﻛﺮ‪,‬ﺣﱴ ﺃﺛﻨﺎﺀ ﳑﺎﺭﺳﺔ ﺍﻟﻌﻤﻞ‪.‬‬
‫ﻭﻣﺎ ﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ ﳏﻤﺪ )‪ ،(‬ﺇﻻﹼ ﺷﻌﺎﺭ ﻣﻦ ﺷﻌﺎﺋﺮ ﺍﻹﺳﻼﻡ‪ ،‬ﻭﺣﺐ ﻟﺮﺳﻮﻝ ﺍﷲ‬
‫ﻭﺻﺎﺣﺐ ﺭﺳﺎﻟﺘﻪ ﳏﻤﺪ ‪. ‬‬
‫) ‪(3‬‬
‫ﻭﻣﻦ ﺍﻷﻏﺎﱐ ﺍﻟﱵ ﺗﺮﺩ‪‬ﺩﻫﺎ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﺛﻨﺎﺀ ﻋﻤﻠﻴﺔ ﺍﳊﺼﺎﺩ ﺃﻳﻀﺎ ‪:‬‬
‫ﻻﹶ ﺇﹺﻟﹶﻪ‪ ‬ﺇﻻﹶ ﺍﻟﻠﹶﻪ‪ ،‬ﻻﹶ ﺇﹺﻟﹶﻪ‪ ‬ﺇﹺﻻ ﺍﻟﻠﱠﻪ‪. ‬‬
‫ﺣ‪‬ﻤ‪‬ﺎﺕ‪ ‬ﺍﻟـﭭﺍﻳ‪‬ﻠﹶﺔﹶ)‪،(4‬ﺣ‪‬ﻤ‪‬ﺮ‪‬ﺓ ﻛ‪‬ﻲ ﻣ‪‬ﻨ‪‬ﺠ‪‬ﻠﻲ‬
‫ﺇﹺﻻﹶ ﻋ‪‬ﻴﻴﺖ‪ ‬ﺃﹶﻧ‪‬ﺎﹶ ﻧ‪‬ﻨ‪‬ﺪ‪‬ﻩ‪ (5)‬ﺑ‪‬ﺮ‪‬ﺑ‪‬ﻲ ﻭ‪‬ﺍﻟﻨﹺّﺒـﻲ ‪.‬‬

‫)‪(1‬‬
‫ﺫﺭﺍﺭﻱ‪ :‬ﻟﻔﻈﺔ ﺷﺎﺋﻌﺔ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﺗﻄﻠﻖ ﻋﻠﻰ ﺍﻷﻃﻔﺎﻝ ﻭﺍﻟﺸﺒﺎﺏ ﺍﻟﺬﻛﻮﺭ‪.‬‬
‫)‪(2‬‬
‫ﻗﹾﻤ‪‬ﺎﺭ‪ :‬ﻣﺎ ﲤﺴﻚ ﺑﻪ ﻗﺒﻀﺔ ﺍﻟﻴﺪ ﻣﻦ ﺳﻨﺎﺑﻞ ﺍﻟﻘﻤﺢ ﻭﺍﻟﺸﻌﲑ ‪.‬‬

‫)‪ (3‬ﺍﻟﺮﺍﻭﻱ‪ :‬ﺏ‪.‬ﺵ ﺍﻟﺴﻌﻴﺪ‪ ، ،‬ﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪1951‬ﻡ‪،‬ﻭﻧﻮﻏﺔ ‪.‬‬

‫)‪ (4‬ﲪﺎﺕ‪ :‬ﲟﻌﲎ ﺍﺷﺘﺪ‪‬ﺕ ﺣﺮﺍﺭ‪‬ﺎ‪ ،‬ﺍﻟﻘﺎﻳﻠﺔ ‪ :‬ﻭﻗﺖ ﺍﻟﻘﻴﻠﻮﻟﺔ ‪.‬‬
‫)‪ (5‬ﻧ‪‬ﻨ‪‬ﺪ‪‬ﻩ ‪ :‬ﺃﺳﺘﻌﲔ ‪.‬‬
‫‪- 55 -‬‬
‫ﻛﻤﺎ ﺗﱪﺯ ﻣﻈﺎﻫﺮ ﺍﻟﺘﻜﺎﻓﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺃﻳﻀﺎ ﰲ ﻋﻤﻠﻴﺔ ﺑﻨﺎﺀ ﺍﳌﻨﺎﺯﻝ‪ ،‬ﻓﻔﻲ ﺍﻟﻘﺪﱘ ﻣﺜﻼ ﻛﺎﻧﻮﺍ‬
‫ﻳﺘﻌﺎﻭﻧﻮﻥ ﻋﻠﻰ ﲨﻊ ﺍﻟﻄﲔ‪ ،‬ﻭﺍﳌﺎﺀ ﻣﻦ ﺍﻵﺑﺎﺭ ﻭﺍﻟﺴﻮﺍﻗﻲ‪ ،‬ﰒ ﻳﻘﻮﻣﻮﻥ ﺑﻌﺠﻨﻪ ﻣﺸﻜﻠﲔ ﻗﻮﺍﻟﺐ ﻃﻴﻨﻴﺔ‬
‫) ‪(1‬‬
‫ﺗ‪‬ﺘﺮﻙ ﻟﺘﺠﻒ ﰒ ﻳﺘﻢ ﺍﻟﺒﻨﺎﺀ ‪‬ﺎ‪ ,‬ﻣﻊ ﺗﺮﺩﻳﺪ ﺍﳌﺪﺍﺋﺢ ﺍﻟﺪﻳﻨﻴﺔ ‪:‬‬
‫ﺻ‪‬ﻠﹶﻰ ﺍﻟﻠﱠﻪ‪ ‬ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ،‬ﺻ‪‬ﻠﹶﻰ ﺍﻟﻠﱠﻪ‪ ‬ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪‬‬
‫ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ‬ﺧ‪‬ﻠﹾﻖ‪ ‬ﺍﻟﻠﱠﻪ‪ ‬ﺑﹺﻴﻚ‪ ‬ﺗ‪‬ﺸ‪‬ﻬ‪‬ﺪ‪‬‬
‫ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ‬ﺑﻦ‪ ‬ﻳ‪‬ﻤ‪‬ﻴﻨ‪‬ﺔ ﰲ ﻟﹸﺠ‪‬ﺔ ﻳ‪‬ﺸ‪‬ﻔﹶﻊ‪ ‬ﻓ‪‬ﻴﻨﺎ‬
‫ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ‬ﻳ‪‬ﺎ ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ، ‬ﺧ‪‬ﻠﹾﻖ‪ ‬ﺍﻟﻠﱠﻪ‪ ‬ﺑﹺﻴﻚ‪ ‬ﺗ‪‬ﺸ‪‬ﻬ‪‬ﺪ‪‬‬
‫ﺻ‪‬ﻠﹼﻰ ﺍﻟﻠﱠﻪ‪ ‬ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ،‬ﺻﻠﱠﻰ ﺍﻟﻠﱠﻪ‪ ‬ﻋ‪‬ﻠ‪‬ﻴﻪ‪ ‬ﺩ‪‬ﻳ‪‬ﻤ‪‬ﺎ‬
‫ﺍﳉﹶﻨ‪‬ﺔ ﻭ‪‬ﻛﹸﺜﹾﺮ‪ ‬ﺍﻟﻨ‪‬ﻌ‪‬ﻴ‪‬ﻤﺎ‬
‫ﺻ‪‬ﻠﱠﻰ ﺍﻟﻠﱠﻪ‪ ‬ﻋ‪‬ﻠ‪‬ﻴﻪ‪ ‬ﻭ‪‬ﺳ‪‬ﻠﱠﻢ‪: ‬‬
‫ﻭﻻ ﺗﺘﻮﻗﻒ ﻋﺎﺩﺓ ﺍﻟﺘﻮﻳﺰﺓ ﻋﻠﻰ ﺍﻟﺮﺟﺎﻝ ﻓﻘﻂ‪ ،‬ﺑﻞ ﲤﺲ‪ ‬ﺍﻟﻨﺴﺎﺀ ﺃﻳﻀﺎ‪،‬ﺇﺫ ﺗﺘﻌﺎﻭﻥ ﺍﻟﻨﺴﻮﺓ ﰲ‬
‫ﺇﳒﺎﺯ ﻋﺪ‪‬ﺓ ﺃﻋﻤﺎﻝ ﻛﻔﺘﻞ ﺍﻟﱪﺑﻮﺷﺔ )‪(2‬ﻣﺜﻼ‪ ،‬ﺣﻴﺚ ﲡﺘﻤﻊ ﺍﳉﺎﺭﺍﺕ ﻋﻨﺪ ﺳﻴﺪﺓ ﻣ‪‬ﺎ‪ ,‬ﲝﻴﺚ ﺗﺒﺪﺃ ﺍﻟﻌﻤﻠﻴﺔ‬
‫ﻣﻨﺬ ﺍﻟﺼﺒﺎﺡ ﺍﻟﺒﺎﻛﺮ ﺇﱃ ﻓﺘﺮﺓ ﺍﻟﻈﻬﲑﺓ ﻭﺍﳌﻘﺎﺑﻞ ﻏﺬﺍﺀ ﻓﺎﺧﺮ ﻣﻦ ﻗﺒﻞ ﺍﳌﺴﺘﻀﻴﻔﺔ ﻭﻫﻜﺬﺍ ﺗﺘﻜﺮﺭ ﺍﻟﻌﻤﻠﻴﺔ‬
‫ﻣﻊ ﺑﻘﻴﺔ ﺍﳉﺎﺭﺍﺕ‪ ،‬ﻭﻫﻦ‪ ‬ﻳﻨﺠﺰﻥ ﺃﻋﻤﺎﳍﻦ ﻭﺍﻟﻔﺮﺣﺔ ﺗﻐﻤﺮﻫﻦ‪ ،‬ﻓﻬﺬﻩ ﺗﻐﲏ ﺃﻏﻨﻴﺔ ﺷﻌﺒﻴﺔ ﻭﺍﻷﺧﺮﻯ‬
‫ﺗﻄﺮﺡ ﻟﻐﺰﺍ ﻭﺍﻷﺧﺮﻯ ﺗﻀﺮﺏ ﻣﺜﻼ‪ ،‬ﻭﺍﻟﻮﻗﺖ ﳝ ‪‬ﺮ ﻓﻼ ﻳﺸﻌﺮﻥ ﺑﺎﻟﺘﻌﺐ ﺃﺑﺪ‪‬ﺍ‪ ،‬ﺣﱴ ﻳﻨﺠﺰﻥ ﻋﻤﻠﻬﻦ‬
‫ﻋﻠﻰ ﺃﻛﻤﻞ ﻭﺟﻪ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺃﻭ ﺍﳊﻀﻨﺔ ﻋﻤﻮﻣ‪‬ﺎ ﺗﺸﺘﻬﺮ ﺑﺈﻧﺘﺎﺝ ﺃﻓﻀﻞ ﻧﻮﻉ ﻣﻦ‬
‫ﺍﻟﱪﺑﻮﺷﺔ ﻭﺍﻟﱵ ﺗﺴﻤ‪‬ﻰ ﰲ ﺍﳌﻨﻄﻘﺔ ﺑﺎﻟﻄﻌﺎﻡ ﻭﺍﻟﻜﺴﻜﺲ ﺃﻳﻀﺎ‪.‬‬
‫ﺃﻣ‪‬ﺎ ﰲ ﻣﻮﺳﻢ ﺟﺰ‪ ‬ﺍﻟﺼﻮﻑ ﻭﺍﻟﺬﻱ ﻳﻜﻮﻥ ﻋﺎﺩﺓ ﰲ ﺷﻬﺮ ﻧﻴﺴﺎﻥ ﻓﻴﺘﻌﺎﻭﻥ ﺍﻟﺮﺟﺎﻝ ﻋﻠﻰ ﺟﺰ‪‬ﻩ‪،‬‬
‫ﺇﺫ ﻳﺘﻘﺪ‪‬ﻡ ﺍﳌﺆ‪‬ﻫ‪‬ﻞ ﳍﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ‪ ،‬ﻭﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺗﻘﻮﻡ ﺍﻟﻨﺴﻮﺓ ﺑﺘﺤﻀﲑ ﻣﺎ ﻳﺴﻤ‪‬ﻰ ﺑﺎﻟﺮﻓﻴﺲ ﻭﻫﻮ‬
‫ﺃﻛﻠﺔ ﺷﻌﺒﻴﺔ ﻣﺼﻨﻔﺔ ﺿﻤﻦ ﺣﻠﻮﻳﺎﺕ ﺍﳌﻨﻄﻘﺔ ﻳﺼﻨﻊ ﻣﻦ ﻋﺠﲔ ﺍﻟﺘﻤﺮ ﻭﺍﻟﺪﻗﻴﻖ ﺍﳋﺸﻦ ﻭﺯﺑﺪﺓ ﺍﻟﺒﻘﺮ‬
‫ﺍﳌﺴﻤﺎﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ﺑﺎﻟﺪﻫﺎﻥ‪ ،‬ﺑﻌﺪ ﺃﻥ ﺗﻨﻀﺞ ﺍﻷﻛﻠﺔ ﻳ‪‬ﻮﺟﻪ ﻗﺴﻢ ﻣﻨﻬﺎ ﺇﱃ ﺍﻟﻜﺒﺶ ﺍﻟﺬﻱ ﻳﺘﻢ ﺟﺰ‬

‫)‪(1‬‬
‫ﺍﻟﺮﺍﻭﻱ ‪ :‬ﻉ‪ .‬ﺃﲪﺪ‪ ،‬ﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪1938‬ﻡ‪ ،‬ﻣﺘﻘﻒ‪ ،‬ﳚﻴﺪ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﺃﻭﻻﺩ ﺩﺭﺍﺝ‬
‫)‪(2‬‬
‫ﺍﻟﱪﺑﻮﺷﺔ‪ :‬ﺗﺴﻤﻴﺔ ﺗ‪‬ﻄﻠﻖ ﻋﻠﻰ ﺍﻟﻜﹸﺴﻜﺲ ‪.‬‬
‫‪- 56 -‬‬
‫ﺻﻮﻓﻪ ﰒ ﺑﻌﺪﻩ ﻣﺒﺎﺷﺮﺓ ﻳﺘﺬﻭﻕ ﺍﻷﻛﻠﺔ ﻛﺒﲑ ﺍﻟﻌﺎﺋﻠﺔ ﻓﺎﻟﺸﺨﺺ ﺍﻟﺬﻱ ﻳﻘﻮﻡ ﺑﻌﻤﻠﻴﺔ ﺍﳉﺰ ﰒ ﺗﻮﺯﻉ‬
‫ﺍﻷﻛﻠﺔ ﻋﻠﻰ ﺑﻘﻴﺔ ﺍﻟﺮﺟﺎﻝ ﻭﺍﻟﻨﺴﺎﺀ ﻭﺍﻷﻃﻔﺎﻝ ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥﹼ ﺑﻠﺪﻳﺎﺕ ﺍﳌﺴﻴﻠﺔ ﺍﻟﺸﺮﻗﻴﺔ ﻫﻲ ﺍﻟﱵ ﺗﺸﺘﻬﺮ ‪‬ﺬﻩ ﺍﻟﻌﺎﺩﺓ ﻛﱪﻫﻮﻡ‬
‫ﻭﻣﻘﺮﺓ ﻭﺑﻠﻌﺎﻳﺒﺔ ﻭﻋﲔ ﺍﳋﻀﺮﺍﺀ ﻭﻏﲑﻫﺎ ﻭ ﻻ ﺗﺰﺍﻝ ﻣﺴﺘﻤﺮﺓ ﺣﱴ ﻭﻗﺘﻨﺎ ﺍﳊﺎﱄ ﰲ ﺍﻟﻘﹸﺮﻯ ﺍﶈﺎﻓﻈﺔ‪.‬‬
‫ﺃﻣﺎ ﰲ ﺍﻟﺒﻠﺪﻳﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ ﻟﻠﻮﻻﻳﺔ ﻛﺤﻤﺎﻡ ﺍﻟﻀﻠﻌﺔ ﻭ ﻭﻧﻮﻏﺔ ﻭﺗﺎﺭﻣﻮﻧﺖ‪ ،‬ﻭﺳﻴﺪﻱ ﻋﻴﺴﻰ‬
‫ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻓﺘﺤﻀ‪‬ﺮ ﺃﻛﻠﺔ " ﺍﻟﺮ‪‬ﻛﺎﻳﺶ" ﺍﻟﱵ ﺗ‪‬ﺼﻨﻊ ﻣﻦ ﻗﻄﻊ ﺍﳋﺒﺰ ﺍﻟﺼﻐﲑﺓ ﺍﻟﱵ ﲤﺰﺝ ﺑﺎﻟﻐﺮﺱ ﻭﺍﻟﺰﺑﺪﺓ‬
‫ﻭﻳﺘﻢ ﺗﻮﺯﻳﻌﻬﺎ ﻋﻠﻰ ﻛﻞﹼ ﺃﻓﺮﺍﺩ ﺍﻟﻌﺎﺋﻠﺔ ﻭﺍﳉﲑﺍﻥ ‪.‬‬
‫ﻭﻣﻦ ﺑﲔ ﻣﻈﺎﻫﺮ ﺍﻟﺘﻜﺎﻓﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺃﻳﻀﺎ ﺃﻥ ﺗﺸﺘﺮﻙ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻮﺍﺳﻢ ﺍﻟﺪﻳﻨﻴﺔ‬
‫ﻋﻠﻰ ﺫﺑﺢ ﺍﻷﻏﻨﺎﻡ ﻭﺗﻮﺯﻳﻌﻬﺎ ﻋﻠﻰ ﺍﳉﲑﺍﻥ ‪ ،‬ﻓﻤﻦ ﻛﺎﻥ ﻣﻴﺴﻮﺭ ﺍﳊﺎﻝ ﻳﺪﻓﻊ ﻣﺒﻠﻐﺎ ﺭﻣﺰﻳﺎ ‪ ،‬ﻭﻣﻦ ﱂ‬
‫ﻳﺴﺘﻄﻊ ﻳﻘﹼﺪﻡ ﻟﻪ ﺍﻟﻠﺤﻢ ﻛﺼﺪﻗﺔ ﻹﺩﺧﺎﻝ ﺍﻟﻔﺮﺣﺔ ﻋﻠﻰ ﻋﺎﺋﻠﺘﻪ‪.‬‬
‫ﺏ‪ -‬ﺍﻟﻔﻨﻮﻥ ﻭﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫ﺇﻥﹼ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﲤﺘﻠﻜﻬﺎ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺗﻌﻜﺴﻬﺎ ﻋﺪ‪‬ﺓ ﻓﻨﻮﻥ ﻫﻲ‬
‫"ﻭﻟﻴﺪﺓ ﺍﻟﻈﺮﻭﻑ ﺍﻟﱵ ﻳﻌﻴﺶ ﻓﻴﻬﺎ ﺍ‪‬ﺘﻤﻊ‪ ،‬ﻓﻬﻲ ﺍﳌﻨﻔﺬ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻳﻌﺒ‪‬ﺮ ﻋﻦ ﲨﺎﻉ ﺍﻟﻔﻜﺮ ﻭﺍﻟﻌﻘﻴﺪﺓ‬
‫ﻭﺍﳊﺲ ﻭﺍﻟﺬﻭﻕ ﺍﻟﺬﻱ ﻳﻜﻤﻦ ﺑﺪﺍﺧﻞ ﺍﻷﻓﺮﺍﺩ‪ ،‬ﻛﻤﺎ ﺃﻧ‪‬ﻬﺎ ﻭﺳﻴﻠﺔ ﻟﻨﻘﻞ ﺍﻷﳎﺎﺩ ﺍﳌﺎﺿﻴﺔ ﻟﻸﺟﻴﺎﻝ‬
‫) ‪(1‬‬
‫ﺍﻟﻘﺎﺩﻣﺔ ﺍﻟﱵ ﺳﺘﺘﺤﻤ‪‬ﻞ ﻣﺴﺆﻭﻟﻴﺔ ﺑﻨﺎﺀ ﺍﻟﻮﻃﻦ"‬
‫ﻭﺍﻟﻔﻨﻮﻥ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﲡﻠﻴﺎ‪‬ﺎ ﻛﺜﲑﺓ ﺗﻌﻜﺴﻬﺎ ﻃﺒﻴﻌﺔ ﺍﳌﻨﻄﻘﺔ ﺍﻟﺒﺪﻭﻳﺔ‪ ،‬ﻭﻗﺪ ﺃﺷﺮﻧﺎ‬
‫ﺳﺎﺑﻘﺎ ﺇﱃ ﺟﺎﻧﺐ ﻣﻨﻬﺎ‬
‫ﻭﻫﺬﺍ ﺟﺎﻧﺐ ﺁﺧﺮ ﺗﻌﻜﺴﻪ ﺍﻷﺩﺍﺀﺍﺕ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫ﺏ‪ 1-‬ﺍﻟﺸﻌﺮ ﺍﻟﺸﻌﱯ‪:‬‬
‫ﻫﻮ ﻟﻐﺔ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻭﺑﻄﺎﻗﺔ ﻫﻮﻳﺘﻬﺎ‪ ،‬ﻓﻤﺎ ﻧﻠﺒﺚ ﺃﻥ ﻧﻘﻮﻝ ﺍﳊﻀﻨﺔ‪ ،‬ﺇﻻﹼ ﻭﺗﺘﺒﺎﺩﺭ ﰲ ﺃﺫﻫﺎﻧﻨﺎ ﻭﻟﻠﻮﻫﻠﺔ‬
‫ﺍﻷﻭﱃ ﺻﻮﺭﺓ ﺍﻟﺒﺎﺩﻳﺔ‪ ،‬ﻭﺑﻴﺖ ﺍﻟﺸ‪‬ﻌﺮ‪ ،‬ﻭﻗﺮﺑﺔ ﺍﳌﺎﺀ ﲜﺎﻧﺒﻪ‪.‬‬

‫)‪ (1‬ﻧﺎﺩﻳﺔ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺍﻟﺪﻣﺮﺩﺍﺵ‪ :‬ﺩﻭﺭ ﺍﻟﺮﻗﺺ ﺍﻟﺸﻌﱯ ﻭﺃﳘﻴﺘﻪ ﰲ ﺍﻹﻋﻼﻡ‪ ،‬ﺭﺳﺎﻟﺔ ﻣﺎﺟﺴﺘﲑ ﻏﲑ ﻣﻨﺸﻮﺭﺓ ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻛﻠﻴﺔ ﺍﻟﺘﺮﺑﻴﺔ ﺍﻟﺮﻳﺎﺿـﻴﺔ ﺑﻨـﺎﺕ‬
‫ﺟﺎﻣﻌﺔ ﺣﻠﻮﺍﻥ‪1972،‬ﻡ‪ ،‬ﻧﻘﻼ ﻋﻦ ﻧﺎﺩﻳﺔ ﺍﻟﺪﻣﺮﺍﺵ‪ ،‬ﻋﻼ ﺗﻮﻓﻴﻖ‪ ،‬ﻣﺪﺧﻞ ﺇﱃ ﻋﻠﻢ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪،‬ﺹ‪.65‬‬
‫‪- 57 -‬‬
 ‫ﻫﺬﻩ ﺍﻟﺒﻴﺌﺔ ﺇﺫﻥ‪ ،‬ﻫﻲ ﺍﻟﱵ ﻭ‪‬ﻟﺪ ﻓﻴﻬﺎ ﺍﻟﺸﻌﺮ ﺍﻟﺸﻌﱯ‪ ،‬ﻭﻣﻨﻬﺎ ﻛﺎﻧﺖ ﺍﻹﻧﻄﻼﻗﺔ ‪.‬‬
‫ﺇﻥﹼ ﻟﻠﺸﻌﺮ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺃﳘﻴﺔ ﺑﺎﻟﻐﺔ‪ ،‬ﺧﺎﺻﺔ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎﳊﻔﺎﻅ ﻋﻠﻰ ﻣﻘﻮ‪‬ﻣﺎﺕ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺍﳌﺘﻤﺜﻠﺔ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻟﺪﻳﻦ ﺃﺳﺎﺳ‪‬ﺎ‪،‬ﻓﺎﻟﺸﻌﺮ ﺍﻟﺸﻌﱯ ﻭﺟﺪ ﻓﻴﻪ ﺍﻟﺸﺎﻋﺮ ﺍﳌﺴﻴﻠﻲ‪.‬‬
‫"ﻣﻨﺎﺧﺎ ﺻﺎﳊﹰﺎ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻋﻮﺍﻃﻔﻪ ﻭﻭﺟﺪﺍﻧﻪ ﺑﻠﻐﺔ ﺳﻬﻠﺔ‪ ،‬ﻭﺃﺳﻠﻮﺏ ﺑﺴﻴﻂ‪ ،‬ﻻ ﻳﺘﻄﻠﺐ ﻣﻌﺮﻓﺔ‬
‫ﺍﻟﻜﺘﺎﺑﺔ ﻭﺇﺗﻘﺎﻥ ﻗﻮﺍﻋﺪ ﺍﻟﻠﻐﺔ ﺍﳌﻌﺮﺑﺔ ﺍﻟﱵ ﺗﺴﺘﺪﻋﻲ ﻗﺪﺭ‪‬ﺍ ﻛﺎﻓﻴﺎ ﻣﻦ ﺍﻟﺘﻌﻠﻴﻢ ﻭﺍﻟﺪﺭﺍﺳﺔ ﻭﻣﻦ ﻫﻨﺎ‬
‫ﺍﺳﺘﻄﺎﻉ ﺍﻟﺸﺎﻋﺮ ﺍﻟﺸﻌﱯ ﺃﻥ ﻳﻘﻠﹼﺪ ﻛﻞ ﺃﻏﺮﺍﺽ ﺍﻟﺸﻌﺮ ﺍﻟﺸﻌﱯ ﻣﺪﺣ‪‬ﺎ ﻭﺭﺛﺎﺀً ﻭﻫﺠﺎﺀً ﻭﻏﺰﻻﹰ ﻣ‪‬ﻊ‬
‫) ‪(1‬‬
‫ﺍﺧﺘﻼﻑ ﰲ ﺍﻟﺮﺅﻳﺔ‪ ،‬ﻭﺗﺒﺎﻳﻦ ﰲ ﺍﻷﺳﻠﻮﺏ ﻭﺍﺧﺘﻼﻑ ﰲ ﺍﻟﺘﺼﻮﻳﺮ"‬
‫ﻫﺬﻩ ﺍﻟﺮﺅﻳﺔ ﺇﺫﻥ ﻗﺪ ﺃﻭﺿﺤﺖ ﻟﻨﺎ ﻧﻘﺎﻁ ﺍﻟﻔﺮﻕ ﺑﲔ ﺍﻟﺸﻌﺮ ﺍﻟﺸﻌﱯ ﻭﺍﻟﺸﻌﺮ ﺍﳌﹸﻌﺮﺏ ‪ ،‬ﺍﻟﺬﻱ‬
‫ﻳﻌﺘﻤﺪ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺼﻴﺤﺔ‪ ،‬ﺃﺳﺎﺳ‪‬ﺎ ﻟﻪ ‪.‬‬
‫ﻭﻳﻌﺘﱪ ﺍﻟﺸﻌﺮ ﺍﻟﺸﻌﱯ ﺃﻳﻀﺎ ﻭﺳﻴﻠﺔ ﺇﺑﻼﻏﻴﺔ ﻫﺎﻣ‪‬ﺔ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﺣﻴﺚ ﻗﺎﻡ ﻣﻦ ﺧﻼﻟﻪ ﺍﻟﺸﺎﻋﺮ‬
‫ﺑﺪﻭﺭ ﺑﺎﺭﺯ ﰲ ﳎﺎﻝ ﺍﻹﻋﻼﻡ ﻓﻜﺎﻥ"ﻳﻨﻈﻢ ﺍﻟﻘﺼﻴﺪﺓ ﻭﻳﺘﻐﲎ ‪‬ﺎ ﰲ ﻣﻴﺪﺍﻥ ﺍﳌﻌﺮﻛﺔ‪ ،‬ﺃﻭ ﻳﻨﺸﺪﻫﺎ ﻭﻫﻮ‬
‫ﻳﺘﺠﻮ‪‬ﻝ ﰲ ﺍﻟﻘﹸﺮﻯ‪ ،‬ﻭﺍﻷﺳﻮﺍﻕ ﺣﻴﺚ ﻳﺘﻠﻘﺎﻫﺎ ﺍﻟﺮ‪‬ﻭﺍﺓ‪ ،‬ﻭﺍﳊﻔﻈﺔ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﻓﻘﺪ ﻛﺎﻥ ﻳﺼﻮﻍ ﺃﺣﺪﺙ‬
‫) ‪(2‬‬
‫ﺍﻟﺜﻮﺭﺓ ﻭﻣﻌﺎﺭﻛﻬﺎ ﺍﻟﻀﺎﺭﻳﺔ ﺷﻌﺮ‪‬ﺍ‪ ،‬ﻭﻧﺸﻴﺪ‪‬ﺍ ﻟﻠﻌﱪﺓ ﻭﺍﻟﻌﻈﺔ ‪ ،‬ﻭﺇﺫﻛﺎﺀ ﺍﳊﻤﺎﺱ"‬
‫ﺇﻥﹼ ﺷﻌﺮﺍﺀ ﺍﳌﺴﻴﻠﺔ ﰲ ﺍ‪‬ﺎﻝ ﺍﻟﺸﻌﱯ ﻛﺜﺮ‪ ،‬ﻭﻗﺼﺎﺋﺪﻫﻢ ﻛﺎﻧﺖ ﺃﻛﺜﺮ ﻓﺄﻛﺜﺮ ﺗﻨﻮ‪‬ﻋﺖ ﺗﺒﻌﺎ‬
‫ﻟﻸﻏﺮﺍﺽ ﺍﻟﱵ ﺗﻨﺎﻭﻟﻮﻫﺎ ﻣﻦ ﻏﺰﻝ ﻭﻫﺠﺎﺀ‪ ،‬ﻭﻓﺨﺮ ﻭﻣﺪﺡ ﻭﲪﺎﺳﺔ ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﻣﻦ ﺑﲔ ﻫﺆﻻﺀ ﺍﻟﺸﻌﺮﺍﺀ ﻧﺬﻛﺮ‪ :‬ﺍﻟﺸﺎﻋﺮ ﻣﺮﻧﻴﺰ‪ ،‬ﻭﺑﻦ ﻋﻴﺴﻰ‪ ،‬ﻭﺇﺑﺮﺍﻫﻴﻢ ﺯﻟﻮﻑ‪ ،‬ﻭ ﺑﻮﻗﻠﻤﻴﻨﺔ‬
‫ﳏﻤﺪ‪ ،‬ﻭﻣﻌﺰﻭﺯ ﺑﻦ ﺣﻠﺔ‪،‬ﻭﺇﺑﺮﺍﻫﻴﻢ ﺟﺤﻴﺶ ﻭﺍﳌﺮﺣﻮﻡ ﳏﻤﺪ ﺑﻦ ﺯﻭﺍﱄ‪ ،‬ﺍﻟﺸﺎﻋﺮ ﺍ‪‬ﻴﺪ ﺻﺎﺣﺐ‬
‫ﺍﻟﻘﺼﺎﺋﺪ ﺍﳉﻤﻴﻠﺔ ﺍﻟﱵ ﻳﻘﻮﻝ ﰲ ﻭﺍﺣﺪﺓ‪ ،‬ﻭﻗﺪ ﻧﻈﻤﻬﺎ ﻭﻫﻮ ﻋﻠﻰ ﺳﺮﻳﺮ ﺍﳌﺮﺽ ﺑﺎﳌﺴﺘﺸﻔﻰ ﺍﳉﺎﻣﻌﻲ‬
‫ﲟﺪﻳﻨﺔ ﺳﻄﻴﻒ‪،‬ﺃﻳﻦ ﺣ‪‬ﺮﻡ ﺍﻟﺰﻳﺎﺭﺓ ﻣﻦ ﳏﺒﻴﻪ ﻭ ﻣﻌﺎﺭﻓﻪ‪ ،‬ﻓﺎﻧﻔﺠﺮﺕ ﻗﺮﳛﺘﻪ ﺑﻌﺪ ﺿﻴﻖ ﺷﺪﻳﺪ ﻗﺎﺋﻠﺔ)*(‪:‬‬

‫ﻭﺍﲰﺎﻃﺖ ﳊﻮﺍﻝ ﻣﺎ ﺍﻃﻴﺎﺑﻠﻲ ﻭﺍﻟﻮﺍ‬ ‫ﺿﺎﻗﺖ ﺭﻭﺣﻲ ﻭﺍﳌﺮﺽ ﻃﺎﻝ ﺃﻋﻠﻴﺎ‬

‫)‪ (1‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﻣﻨﻄﻠﻘﺎﺕ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.29‬‬

‫)‪ (2‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﺩﻭﺭ ﺍﻟﺸﻌﺮ ﺍﳉﺰﺍﺋﺮﻱ ﰲ ﺍﻟﺜﻮﺭﺓ )‪1945 ،1830‬ﻡ(‪ ،‬ﺍﻟﺸﺮﻛﺔ ﺍﻟﻮﻃﻨﻴﺔ ﻟﻠﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ‪.‬ﻁ( ‪1983‬ﻡ‪،‬ﺹ‪.100‬‬

‫)*( ﻳ‪‬ﻨﻈﺮ ﻟﻠﻘﺼﻴﺪﺓ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ ‪،‬ﺹ‪.201‬‬

‫‪- 58 -‬‬
 ‫ﺃﻭ ﻣﺎﺫﺍ ﻣﻦ ﳊﺒﺎﺏ ﻋﻨ‪‬ﻲ ﻣﺎ ﺳـﺎﻟﻮﺍ‬ ‫ﻧﺘﻔﻜــﺮ ﻟﻴﺎﻡ )‪(1‬ﺫﺭﻓــﻮﺍ ﻋﻴﻨﺎ‬
‫) ‪(2‬‬
‫ﻻ ﻗﺎﻟﻮﺍ ﻻﺑﺎﻥ ﻟﻈﻬﺮ ﲣﻴـــﺎﻟﻮﺍ‬ ‫ﻣﺎﺣﺴﻮﺵ ﺍﺑﻐﻴﺒﱵ ﺣﺴـﻮﺍ ﺑﻴـﺎ‬

‫ﻧﻜﺎﺭﻳﻦ ﺍﳋﲑ ﰲ ﺍﻟﻈﻨﺔ ﺣـــﺎﻟﻮﺍ‬ ‫ﺷﺪ ﺃﻳﺪﻱ ﳊﺒـﺎﺏ ﻣﺎ ﺑﻘﺎﺕ ﺍﻟﻨﻴﺎ‬

‫) ‪(3‬‬
‫ﺃﹸﻭ ﻗﻠﱯ ﻣﻜﻨﻮﺍ ﻏﻴﺾ ﻻﺑﺎ ﻳﻬﺪﺍﻟﻮﺍ‬ ‫ﻧﺘﻨﻬ‪‬ﺪ ﰲ ﻛﻞ ﺻﺒﺤـﺔ ﻭﺃﻋﺸﻴـﺎ‬
‫ﺃﻭ ﻏﺮﺍﺭﺓ ﺑﺮﺟﺎﳍـﺎ ﻋﻨﻬـﺎ ﻗﺎﻟــﻮﺍ‬ ‫ﻳﺎ ﺣﺴﺮﺍﻩ ﺃﻋﻠﻴﻚ ﻳـﺎ ﺩﺍﺭ ﺍﻟﺪﻧﻴﺎ‬
‫ﻭﺍﺣﻠﻴﻞ ﺍﻟﻠﻲ ﻃﺎﺡ ﻭﺍﺭﺷﺎﺕ ﺍﺣﺒﺎﻟﻮﺍ‬ ‫ﻣﻠﻠﻲ ﻛﻨﺖ ﺃﺻـﺤﻴﺢ ﺗﺘﻮﻟﻊ ﺑﻴـﺎ‬
‫ﺃﻭ ﺭﻕ ﻋﲏ ﻏﻴـﻢ ﻛـﺪﺭ ﲣﺒﺎﻟـﻮﺍ‬ ‫ﻭﺍﺣﺒﺲ ﺑﻴ‪‬ﺎ ﺍﻟﻌـﻮﺩ)‪(4‬ﰲ ﻓﻢ ﺍﺛﻨﻴـﺎ‬
‫ﺃﻭﻣﺎ ﺻﺒﺘﺶ ﻣﻦ ﻗﺎﻝ ﻫﺎ ﻫﻮﺍ ﺑﺮﺟﺎﻟﻮﺍ‬ ‫ﻭﻳﻦ ﺃﺣﺒﺎﰊ ﻭﻳـﻦ ﻣﻦ ﻫـﻮ ﻟﻴـﺎ‬
‫ﻛﻤﺎ ﻣﺜﹼﻠﺖ ﺍﻟﺜﻮﺭﺓ ﺍﻟﺘﺤﺮﻳﺮﻳﺔ ﻭ ﻣﻔﺠﺮﻳﻬﺎ ﻣﻨﺒﻊ ﺇﳍﺎﻡ ﻟﻠﺸﺎﻋﺮ ﺍﳌﺴﻴﻠﻲ‪ ،‬ﺇﺫ ﺭﺍﺣﺖ ﻗﺮﳛﺘﻪ ﲡﻮﺩ‬
‫ﺑﻘﺼﺎﺋﺪ ﻫﻲ ﻏﺎﻳﺔ ﰲ ﺍﻟﺮﻭﻋﺔ ﻋﻦ ﺃﳎﺎﺩ ﺍﳉﺰﺍﺋﺮ ﻭﺗﻀﺤﻴﺎﺕ ﺃﺑﻄﺎﳍﺎ ﺍﻟﺸﻬﺪﺍﺀ ﺍﻟﺬﻳﻦ ﺣﻔﻈﻬﻢ ﺍﻟﺘﺎﺭﻳﺦ‬
‫ﻣﻦ ﺧﻼﻝ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﺗﻘﻄﺮ ﻭﻃﻨﻴﺔ ﻭ ﻓﺨﺮﺍ ﻟﺼﺎﺣﺒﻬﺎ ﺇﺑﺮﺍﻫﻴﻢ ﺯﻟﻮﻑ ﺍﺑﻦ ﻣﻨﻄﻘﺔ ﻣﺴﻴﻒ‬
‫ﺑﺎﳌﺴﻴﻠﺔ‪ ،‬ﺣﻴﺚ ﻳﻘﻮﻝ ﰲ ﻗﺼﻴﺪﺗﻪ ﻳﺎ ﻋﺮ‪‬ﺍﺏ)*(‪:‬‬
‫ﺃﺣﻜﻴﻠﻲ ﻛﻤــﺎ ﺍﻟﺘﺎﺭﻳﺦ ﺃﺣﻜﺎﱄ‬ ‫ﺣﺴـﻴﺒﺔ ﻭﺃﻣـﺜﺎﳍﺎ ﺣـﺮﺍﻳﺮ ﻟﺒﺎﺏ‬
‫ﺑﲔ ﻣﻨﻈﻢ ﻳﺘﺤـﺮ‪‬ﺭ ﻟﻠﻲ ﺧــﺎﱄ‬ ‫ﻟﻌﺰﻳﺰﺓ ﺟﺰﺍﺋﺮﻱ ﻭﺵ ﺟﺎﺏ ﳉـﺎﺏ‬
‫ﺍﻟﻠﻲ ﻣﺘﻨﺤﺮﰊ ﻟﻠﻌﺪﻯ ﺑﺮﻕ ﺃﻳﺸﺎﱄ‬ ‫ﻭﺍﻟﻠﻲ ﻳﺪﺑﺮ ﻟﻠﻔﺘﻨﺔ ﻓﻜﺮﻭ ﻳﺼﻌـﺎﺏ‬
‫ﺇﱄ ﺭﺳﻢ ﻟﻠﻮﻏﻰ ﻳﻐﺪﻯ ﺳــﺎﱄ‬ ‫ﻛﻲ ﻋﻤﲑﻭﺵ ﻭﺣﺮﻓﺘﻮ ﻓﺎﱀ ﻫﺰﺍﺏ‬
‫ﻣﺘﻌﻘﻞ ﺧﻄﺎﻁ ﻟﻠﻤﻮﺕ ﺃﳛـﺎﻟـﻲ‬ ‫ﻓﺤﻞ ﺃﺳﺒﻮﻋﻪ ﻋﻠﹸﻮﻋﺮ ﺩﳝﻪ ﻫﺠﻼﺏ‬
‫ﻭﺫﻛﺮ ﺍﻟﺸﻬﺪﺍﺀ ﺩﺍﺋﻢ ﺍﻟﻮﺭﻭﺩ ﻋﻠﻰ ﺃﻟﺴﻨﺔ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻟﺸﻌﺒﻴﲔ ﰲ ﺍﳌﺴﻴﻠﺔ ﻓﺈﺫﺍ ﻣﺎ ﺫﻛﺮﺕ ﺍﳉﺰﺍﺋﺮ ﺇﻻﹼ ﻭ‬
‫ﻧ‪‬ﻮ‪‬ﻩ ‪‬ﻢ ﻭﲟﻜﺎﻧﺘﻬﻢ‪ ،‬ﻭﺑﻔﻀﻠﻬﻢ ﰲ ﺍﺳﺘﺮﺟﺎﻉ ﺍﳊﺮﻳﺔ‪ ،‬ﻭﻣﺎ ﻗﺼﻴﺪﺓ ﺑﻦ ﻓﻄﻮﻡ ﻣﺮﺍﺩ ﺍﳌﻌﻨﻮﻧﺔ ﺑـ‪:‬‬
‫"ﻟﺸﻬﺎﺩﺓ ﺃﺭﻭﺍﺣﻬﻢ ﺻﺎﺭﺕ ﺣﺮﺓ" ﺇﻻ ﺩﻟﻴﻼ ﻋﻠﻰ ﺫﻟﻚ)**(‪:‬‬

‫)‪ (1‬ﻟﻴﺎﻡ‪ :‬ﺍﻷﻳﺎﻡ‬

‫)‪ (2‬ﻟﻈﻬﺮ ﲣﻴﺎﻟﻮﺍ‪ :‬ﱂ ﻳﻈﻬﺮ ﺧﻴﺎﻟﻪ‬
‫)‪ (3‬ﻻﺑﺎ ﻳﻬﺪﺍﻟﻮﺍ‪ :‬ﱂ ﻳﻬﺪﺉ ﻟﻪ ﺑﺎﻝ‪.‬‬
‫)‪ (4‬ﺍﻟﻌﻮﺩ‪ :‬ﺍﳊﺼﺎﻥ‪.‬‬
‫‪- 59 -‬‬
 ‫ﻭﺍﻟﺼﻼﺓ ﻋﻠﻴﻚ ﻳﺎ ﺧﺎﰎ ﻟﺪﻳﺎﻥ‬
‫) ‪(1‬‬
‫ﻳﺎ ﻣﻌﲔ ﺍﻟﻨﺎﺱ ﰲ ﺳﺎﻳﺮﻟﻮﻃﺎﻥ‬
‫) ‪(2‬‬
‫ﻭﺍﺣﺘﺎ ﺃﻫﻞ ﺍﻟﺪﻳﻦ ﺃﻭ ﻗﻮﺓ ﻟﻴﻤﺎﻥ‬
‫ﺃﻭ ﻋﻘﻴﺪﺗﻨﺎ ﻇﺎﻫﺮﺓ ﰲ ﻛﻞ ﺃﻣﻜﺎﻥ‬
‫ﺃﻭ ﻧﺘﻤﻨﺎﻭﺍ ﺣﺴﺎﺑﻨﺎ ﺟﻨﺔ ﻋﺪﻧـﺎﻥ‬
‫ﻛﻤﺎ ﻧﺎﻟﺖ ﺷﺨﺼﻴﺔ ﺍﻟﺮﺳﻮﻝ ‪ ‬ﺍﻻﻫﺘﻤﺎﻡ ﺍﻷﻛﱪ ﻣﻦ ﻃﺮﻑ ﺷﻌﺮﺍﺀ ﺍﳌﺴﻴﻠﺔ ﺣﻴﺚ ﻳﻘﻮﻝ‬
‫‪- 60 -‬‬
‫ﺑﺎﺳﻢ ﺍﷲ ﺍﻟﻮﺍﺣﺪ ﺭﺏ ﺍﻟﻘــﺪﺭﺓ‬
‫ﻳﺎ ﺳﻼﹼﻙ ﺃﻭﺣﺎﻟﻨﺎ ﻣﻮﻝ ﺍﻟﺴــﺘﺮﺓ‬
‫ﻭﺣﻴﻚ ﻓـﻲ ﺍﻟﻘﺮﺁﻥ ﺃﻣﺮ ﺑﺎﻟﺜـﻮﺭﺓ‬
‫ﻋﺸﺎﻗﲔ ﺍﳌـﻮﺕ ﻭﻗﺖ ﺍﳌﻀــﺮﺓ‬
‫ﻣﻨﺨﺎﻓﻮﺵ )‪ (3‬ﺍﳌﻮﺕ ﻭﺭﺻﺎﺹ ﺍﻟﻜﻔﺮﺓ‬
‫ﺃﺣﺪﻫﻢ)*(‪:‬‬
‫ﺑﹺﺴ‪‬ﻢ‪ ‬ﺍﻟﻠﱠﻪ‪ ،‬ﻭ‪‬ﺑ‪‬ﺪﻳﺖ‪ ‬ﺍﻟﻜﹶﻠﹾﻤ‪‬ﺎﺕ‪. ‬‬
‫ﻭ‪‬ﺑ‪‬ﺎﻻﹶﻙ‪ ‬ﺗ‪‬ﻮ‪‬ﻟ‪ّ‬ﻲ ﻗﹾﺼ‪‬ﻴ‪‬ﺔ‪.‬‬
‫ﺍﻟﺼ‪‬ﻼﹶﺓﹾ ﻭ‪‬ﺯﹺﻳ‪‬ﺪ ﺑﹺﺎﻟﺼ‪‬ﻼﹶﺓﹾ‬
‫ﻋ‪‬ﻠﻰ‪ ‬ﺍﻟﻨ‪‬ﱯ ‪ ،‬ﺳ‪‬ﻴ‪‬ﺪ ﺭ‪‬ﻗﹶﻴ‪‬ﺔﹶ‬
‫ﻫ‪‬ﻮ‪ ‬ﺷ‪‬ﻔ‪‬ﻴﻊ‪ ‬ﺍﳌﹶﺨ‪‬ﻠﹸﻮﻗﹶﺎﺕ‪‬‬
‫ﻫ‪‬ﻮ‪‬ﻧ‪‬ـﱯ ﺍﻷَﻧ‪‬ﺒﹺﻴ‪‬ـﺎ‬
‫ﻗﹶﺼ‪‬ﺔ ﺃﻋ‪‬ﻈﹶﻢ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺍﻟﻘﹶﺼ‪‬ﺎﺕ‪‬‬
‫ﻓ‪‬ﻴ‪‬ﻬﺎ ﺗ‪‬ﻮﻧ‪‬ﺲ‪ ،‬ﻭ‪‬ﺍﻓﹾﺮﻳﻘﻴﺎ‬
‫ﻫ‪‬ﺮ‪‬ﺑ‪‬ﺖ‪ ‬ﻓ‪‬ﻴ‪‬ﻬﺎ ﺍﻟﻨ‪‬ﺎﺱ‪ ‬ﺃﹶﺩ‪‬ﻧ‪‬ﺎﺕ‪‬‬
‫ﻣ‪‬ﻦ‪ ‬ﺍﳌﹶﺮ‪‬ﻭﻙ‪(4) ‬ﻟﹶﻠﹾﻤ‪‬ﻬ‪‬ﺪ‪‬ﻳ‪‬ﺔﹶ ‪.‬‬
‫ﻭ‪‬ﻓ‪‬ﻲ‪ ‬ﻣﻮﺿﻊ ﺁﺧﺮ ﻳﻘﻮﻝ ‪:‬‬
‫)*( ﻳ‪‬ﻨﻈﺮ ﻟﻠﻘﺼﻴﺪﺓ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪،‬ﺹ‪.203‬‬
‫)**(ﻳ‪‬ﻨﻈﺮ ﻟﻠﻘﺼﻴﺪﺓ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪،‬ﺹ‪.202‬‬
‫)‪ (1‬ﻟﻮﻃﺎﻥ‪ :‬ﺍﻷﻭﻃﺎﻥ‪.‬‬
‫)‪ (2‬ﻟﻴﻤﺎﻥ‪ :‬ﺍﻹﳝﺎﻥ‪.‬‬
‫)‪ (3‬ﻣﻨﺨﺎﻓﻮﺵ‪ :‬ﻻ ﳔﺎﻑ‬
‫* ﻣﻌﺰوز ﺑﻦ ﺣﻠﺔ‪ :‬ﻣﻦ ﺷﻌﺮاء ﻣﻨﻄﻘﺔ وﻧﻮﻏﺔ ﺑﺎﻟﻤﺴﯿﻠﺔ‪.‬‬
‫)‪(4‬‬
‫ﺍﳌﺮﻭﻙ‪ :‬ﺍﳌﻐﺮﺏ ﺍﻷﻗﺼﻰ‪.‬‬
 ‫ﺗ‪‬ﻐ‪‬ﻴ‪‬ﺮ‪ ‬ﺍﻟﺰ‪‬ﻣ‪‬ﺎﻥﹾ ﺷ‪‬ﻮﻕ‪ ‬ﺍﻟﻌ‪‬ﺒ‪‬ﺪ‪ ‬ﻗﹾﻮ‪‬ﻯ‬
‫ﺍﻟﺪ‪ّ‬ﻳ‪‬ﻦ ﺍﺗ‪‬ﺨ‪‬ﻠﱠﻂﹾ ﻭ‪‬ﺍﻟﻘﹶﻠﹾﺐ‪ ‬ﻭ‪‬ﺍﺵ‪ ‬ﺑﻴﻪ‪‬‬
‫ﺍﳌﹸﺴ‪‬ﻠﹶﻢ‪ ‬ﻟﹶﺸ‪‬ﺎﻭ‪‬ﺭ‪ ‬ﺧ‪‬ﻮﻩ‪ ‬ﺍﳌﹸﺴ‪‬ﻠﹶﻢ‪ ‬ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﺴ‪‬ﺄﹶﻟﹶﺔﹶ‬
‫)‪(2‬‬
‫ﻳ‪‬ﺪ‪‬ﻭ‪‬ﺭ ﻋ‪‬ﻠﹶﻰ ﺷ‪‬ﻔﹶﻄﺔ )‪(1‬ﻭﹺﻳﺪ‪‬ﺭ‪‬ﺑﻴﻪ‪.‬‬
‫ﺗﻌﻜﺲ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻨﺰﻋﺔ ﺍﻟﺪﻳﻨﻴﺔ ﻟﻠﺸﺎﻋﺮ ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﻔﺘﺎﺣﻪ ﻟﻘﺼﻴﺪﺗﻪ ﺑﺎﻟﺒﺴﻤﻠﺔ ﰒﹼ‬
‫ﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺭﺳﻮﻝ ﺍﷲ‪ ،،‬ﺧﲑ ﺍﻷﻧﺒﻴﺎﺀ‪.‬‬
‫ﻭﰲ ﺍﳌﻘﻄﻊ ﺍﻵﺧﺮ ﺗﻈﻬﺮ ﻏﲑﺓ ﺍﻟﺸﺎﻋﺮ ﻋﻠﻰ ﳎﺘﻤﻌﻪ ﻣﻦ ﺧﻼﻝ ﺗﻄﺮ‪‬ﻗﻪ ﻟﻈﺎﻫﺮﺓ ﺳﻠﺒﻴﺔ ﻣﺘﻔﺸﻴﺔ‬
‫ﻓﻴﻪ‪ ،‬ﻭﻫﻲ ﺍﻟﻌﺪﺍﻭﺓ ﻭﺍﻟﺘﺨﺎﺻﻢ ﻭﻗﻄﻊ ﺻﻠﺔ ﺍﻟﺮﺣﻢ ﺑﲔ ﺃﻓﺮﺍﺩﻩ ﻭﺍﻟﻐﺎﻳﺔ ﻣﻦ ﺍﻟﺘﻄﺮﻕ ﳌﺜﻞ ﻫﺬﻩ ﺍﳌﻮﺍﺿﻴﻊ‬
‫ﺗﻜﻮﻥ ﰲ ﺍﻟﻌﺎﺩﺓ ﺇﺻﻼﺣﻴﺔ‪ ،‬ﺗﻮﺟﻴﻬﻴﺔ ﺍﳍﺪﻑ ﻣﻨﻬﺎ ﺗﺜﺒﻴﺖ ﻣﻌﺎﱂ ﺍﻹﺳﻼﻡ ﺍﻟﺴﻤﺤﺔ ﻭﺍﻟﺪﻋﻮﺓ ﺇﱃ‬
‫ﺗﻄﺒﻴﻘﻬﺎ ﻭﺍﳊﻔﺎﻅ ﻋﻠﻴﻪ‪.‬‬
‫ﻭﻛﺜﲑﺍ ﻣﺎ ﺃﺑﺪﻯ ﺍﻟﺸﻌﺮﺍﺀ ﺍﳊﻀﻨﻴﻮﻥ ﺇﻋﺠﺎ‪‬ﻢ ﻭﲤﺴﻜﻬﻢ ﺑﻌﺎﺩﺍ‪‬ﻬﻢ ﻭﺗﻘﺎﻟﻴﺪﻫﻢ‪ ،‬ﺑﻞ‬
‫ﻭﺍﻋﺘﺰﺍﺯﻫﻢ ‪‬ﺎ ﺭﻏﻢ ﻗﺪﻣﻬﺎ‪ ،‬ﻳﻠﺨﺺ ﺍﻟﺸﺎﻋﺮ ﺇﺑﺮﺍﻫﻴﻢ ﺟﺤﻴﺶ)‪ (3‬ﻫﺬﺍ ﺍﻹﻋﺠﺎﺏ ﰲ ﻗﺼﻴﺪﺓ ﻣﻄﻮ‪‬ﻟﺔ‬
‫ﻫﺬﻩ ﺃﺑﻴﺎﺕ ﻣﻨﻬﺎ)*(‪:‬‬
‫ﻭﺍﺯﺭﺍﺑﺔ ﺃﻣﻔﺮﺷﺔ ﻭ ﻭﺳﺎﻳﺪ ﻟﻠﺤﻀﺎﺭ‬ ‫ﻓﻮﻕ ﺃﺣﻴﺎﻙ ﺍﻟﺼﻮﻑ ﻫﺬﻩ ﻋﺎﺩﺗﻨـﺎ‬
‫ﻭ ﺍﺻﻨﺎﻋﺔ ﺍﻟﻌـﻮﺩ ﻓﻴﻬـﺎ ﻗﻬ‪‬ـﺎﺭ‬ ‫ﻣﻜﺴﺒﻨﺎ ﺍﳋﻴﻞ ﻋﻠﻰ ﺃﺟﺪﻭﺩﻧﺎ ﺃﻭﺭﺛﻨﺎ‬
‫ﺍﻟﻔﺮﻭﺳﻴﺔ ﻓﻴﻬـﺎ ﺩﻫـﺎﺓ ﻭﻣﻬـﺎﺭ‬ ‫ﻧﻌﺸﻘﻮﺍ ﺍﳋﻴﻞ ﺭﻛﻮ‪‬ـﻢ ﻫﻮﺍﻳﺘﻨـﺎ‬
‫ﻭﺑﺮﺍﻧﻴﺲ ﺯﻳﻨﺔ ﻣﻦ ﺍﻟﺼﻮﻑ ﻭﻟﻮﺑﺎﺭ‬ ‫ﺍﻟﻘﻨﺪﻭﺭﺓ ﻭﺍﻟﻠﺤﻔﺔ ﺍﻟﻌﺮﰊ ﻟﺒﺴﺘﻨـﺎ‬
‫ﻭﺍﻟﺒﻞ ﻟﻠﻤﺮﺣﻮﻝ ﺳﺎﺭﺣـﺔ ﲜـﻮﺍﺭ‬ ‫ﺍﺻﺮﺍﻋﻴﻒ ﻟﻐﻨﻢ ﻓﺎﻟﻴـﺔ ﺑﺴﻮﺍﳛﻨـﺎ‬

‫)‪ (1‬ﺷﻔﻄﺔ‪ :‬ﺣﺎﻓﺔ ﺍﳉﺒﻞ ﺃﻭ ﻗﻤﺘ‪‬ﻪ ‪.‬‬

‫)‪ (2‬ﻳﺪﺭﺑﻴﻪ‪ :‬ﻳﺴﻘﻄﻪ ﻭﻳﺮﻣﻴﻪ ﻣﻦ ﺃﻋﻼﻩ ‪.‬‬
‫)‪ (3‬ﺟﺤﻴﺶ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺷﺎﻋﺮ ﺷﻌﱯ ‪ ،‬ﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪1964‬ﻡ‪ ،‬ﺑﺮﻫﻮﻡ‪.‬‬
‫)*(‬
‫ﻳ‪‬ﻨﻈﺮ ﺍﻟﻘﺼﻴﺪﺓ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪ ،‬ﺹ ‪.205‬‬
‫‪- 61 -‬‬
 ‫ﺏ‪ 2-‬ﺍﻷﻏﺎﱐ ﺍﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫ﻫﻲ ﻭﺍﺣﺪﺓ ﻣﻦ ﺃﻫﻢ‪ ‬ﻭﺃﺑﺮﺯ ﻓﻨﻮﻥ ﺍﻷﺩﺏ ﺍﻟﺸ‪‬ﻌﱯ ﻭﺃﻛﺜﺮﻫﺎ ﺍﻧﺘﺸﺎﺭ‪‬ﺍ ﺫﻟﻚ ﻷ‪‬ﺎ ﺗﻌﺎﰿ ﳐﺘﻠﻒ‬
‫ﺍﳌﻮﺍﺿﻴﻊ ﻛﺎﻷﻋﺮﺍﺱ ﻭﺍﳌﻨﺎﺳﺒﺎﺕ ﺍﻟﺪﻳﻨﻴﺔ ﻭﺍﳊﺐ ﻭﺍﻟﻌﻤﻞ ﻭﺍﻟﺪﻳﻦ ﻭﺍﻟﺜﻮﺭﺓ ﻭﺍﻟﺴﻴﺎﺳﺔ ﻭﻏﲑﻫﺎ‪.‬‬
‫" ﻓﻬﺬﺍ ﺍﻟﻔﻦ ﺃﻗﺪﻡ ﻓﺮﻭﻉ ﺃﺩﺑﻨﺎ ﺍﻟﺸﻌﱯ ﻭﺇﻥ ﻛﺎﻥ ﻗﻮﻟﻨﺎ ﻫﺬﺍ ﻳﺜﲑ ﺟﺪﻻ ﻭﺍﺳﻌ‪‬ﺎ ﻓﺜﻤ‪‬ﺔ ﺩﺍﺭﺳﻮﻥ‬
‫ﻟﻸﺩﺏ ﺍﻟﺸﻌﱯ‪ ،‬ﻳﺮﻭﻥ ﺃﻥﹼ" ﺍﳊﺪﻭﺛﺔ" ﺳﺒﻘﺖ ﺍﻷﻏﻨﻴﺔ ‪ ،‬ﻭﻳﺪﻟﹼﻠﻮﻥ ﺭﺃﻳﻬﻢ ﺑﻘﻴﺎﺱ ﻧﻈﺮﻱ ﲝﺚ ﻏﲑ ﺃﻥﹼ‬
‫ﻓﻬﻤﻨﺎ ﻟﻄﺒﻴﻌﺔ ﺍﻷﺩﺏ ﻛﻨﺸﺎﻁ ﻋﺎﻃﻔﻲ ﻓﻜﺮﻱ ﻭﺗﺮﻛﻴﺐ ﻣﻌﻘﺪ ﻭﺟﺪﺍﱐ‪...‬ﻛﻞﹼ ﺫﻟﻚ ﻳﺆﺩ‪‬ﻱ ﺑﻨﺎ ﺇﱃ‬
‫) ‪(1‬‬
‫ﺗﻘﺮﻳﺮ ﺃﺳﺒﻘﻴﺔ ﺍﻷﻏﻨﻴﺔ ﻋﻠﻰ ﺳﻮﺍﻫﺎ ﻣﻦ ﺍﻟﻔﻨﻮﻥ‪"....‬‬
‫ﻭﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ ﺗﻜﺎﺩ ﺗﻌﺞ‪ ‬ﺑﺎﻷﻏﺎﱐ ﺍﻟﺸﻌﺒﻴﺔ ‪ ،‬ﻓﻬﺬﻩ ﺃﻏﺎﱐ ﻟﻸﻋﺮﺍﺱ‪ ،‬ﻭﺃﺧﺮﻯ‬
‫ﻟﻠﺨﺘﺎﻥ ﻭﺃﺧﺮﻯ ﻟﻠﻌﻤﻞ‪ ،‬ﺑﻞ ﻭﻻ ﲡﺪ ﻣﻨﺎﺳﺒﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﺇﻻ ﻭﳍﺎ ﺃﻏﻨﻴﺘﻬﺎ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳋﺎﺻﺔ ‪‬ﺎ‬
‫ﻭﺍﳌﻠﻔﺖ ﻟﻼﻧﺘﺒﺎﻩ ﺃﻳﻀﺎ ﺃﻥ ﺟﻞ ﺃﻏﺎﱐ ﺍﳌﻨﻄﻘﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﺒﺘﺪﺃ ﺑﺎﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﺮﺳﻮﻝ)‪(‬‬
‫ﻭﺑﺎﳊﻤﺪ ﻭﺍﻟﺸﻜﺮ ﷲ ‪.‬‬
‫) ‪(2‬‬
‫ﻭﻣﻦ ﺃﻣﺜﻠﺔ ﺫﻟﻚ ﻣﺎ ﺗﺆﺩﻳﻪ ﺍﻟﻨﺴﻮﺓ ﰲ ﺍﻷﻋﺮﺍﺱ ﺣﻴﺚ ﻳﻘﻠﻦ ‪:‬‬
‫ﺻ‪‬ﻠﹼﻮ ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ،‬ﺻ‪‬ﻠﹶﻰ ﺍﻟﻠﱠﻪ‪ ‬ﻋ‪‬ﻠ‪‬ﻴﻪ‪ ،‬ﻭ‪‬ﻟ‪‬ﻲ ﻣ‪‬ﺎ ﺻ‪‬ﻠﹶﻰ ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪ ‬ﻣ‪‬ﺎ ﺷ‪‬ﻼﱠﻟ‪‬ﻲ)‪ (3‬ﺑﹺﻴﻪ‪. ‬‬
‫ﺃﹶﻧ‪‬ﺎ ﻗﺎﻋ‪‬ﺪ‪ ‬ﻓ‪‬ﻲ ﻋ‪‬ﻄ‪‬ﻠﹶﻴﺔ)‪ (4‬ﻭ‪‬ﺍﻋ‪‬ﺠ‪‬ﺒ‪‬ﲏ ﻧ‪‬ﻮ‪‬ﺍﺭ‪‬ﻫﺎ‬
‫ﻫ‪‬ﺎﺫﻱ ﻣ‪‬ﺮ‪‬ﺗ‪‬ﻚ‪ ‬ﻳ‪‬ﺎ ﻭ‪‬ﻟ‪‬ﻴﺪ‪‬ﻱ ﻣ‪‬ﻦ‪ ‬ﻟﹶﺒ‪‬ﻨ‪‬ﺎﺕ‪ ‬ﺍﺧ‪‬ﺘ‪‬ﺎﺭ‪‬ﻫ‪‬ﺎ ‪.‬‬
‫ﺃﹶﻧ‪‬ﺎ ﻗﹶﺎﻋ‪‬ﺪ‪ ‬ﻓ‪‬ﻲ ﻋ‪‬ﻄ‪‬ﻴﻠﹶﺔ ﻭ‪‬ﻓﺎﺭ‪‬ﺱ‪ ‬ﻳ‪‬ﻌ‪‬ﻘﹸﺐ‪ ‬ﻓﺎﺭﺱ‪‬‬
‫ﻫ‪‬ﺎﺫﻱ ﻣ‪‬ﺮ‪‬ﺗ‪‬ﻚ‪ ‬ﻳ‪‬ﺎ ﻭ‪‬ﻟ‪‬ﻴﺪ‪‬ﻱ‪ ،‬ﻣ‪‬ﻦ‪ ‬ﺍﻟﺮ‪‬ﻣ‪‬ﻘﹶﺎﺕ‪ (5)‬ﺍﳊﹶﺎﺭ‪‬ﺱ‪‬‬

‫)‪(1‬‬
‫ﺃﲪﺪ ﺭﺷﺪﻱ ﺻﺎﱀ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪ ،‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪،‬ﻁ‪،3‬ﺹ‪.286‬‬
‫)‪(2‬‬
‫ﺍﻟﺮﺍﻭﻱ ‪:‬ﺏ‪ ،‬ﻋﺎﺋﺸﺔ ﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪1945‬ﻡ ﺭﺑ‪‬ﺔ‪ ‬ﺑﻴﺖ ‪،‬ﺑﺮﻫﻮﻡ‪.‬‬
‫)‪(3‬‬
‫ﻣﺎﺷﻼﱄ ﺑﻴﻪ‪ :‬ﻻ ﺣﺎﺟﺔ ﱄ ﺑﻪ ‪.‬‬
‫)‪(4‬‬
‫ﻋ‪‬ﻄ‪‬ﻴﻠﹶﺔ ‪ :‬ﺍﻟﻘﻄﻌﺔ ﻣﻦ ﺍﻷﺭﺽ ﺍﳋﻀﺮﺍﺀ‪ ،‬ﻛﺜﲑﺓ ﺍﳌﻴﺎﻩ ﻭﺍﳊﺸﺎﺋﺶ ‪.‬‬
‫)‪(5‬‬
‫ﺍﻟﺮ‪‬ﻣ‪‬ﻘﹶﺎﺕ‪ : ‬ﺍﻷﺻﻬﺎﺭ ‪ ،‬ﺍﻟﱵ ﻣﻔﺮﺩﻫﺎ ﺻﻬﺮ‪.‬‬
‫‪- 62 -‬‬
 ‫ﺣ‪‬ﻨ‪‬ﻲ ﻳ‪‬ﺎﻟﹶﺤ‪‬ﻨ‪‬ﻨﻴﺔ ﻭ‪‬ﺍﻟﺘ‪‬ﻤ‪‬ﺮ‪‬ﺓ ﻟﹶﺒ‪‬ﻨﺒﻨﺔ‬
‫ﺟ‪‬ﺎﺑ‪‬ﻮﻙ‪ ‬ﺍﻟﺘ‪‬ﺠ‪‬ﺎﺭﺀ ﻣ‪‬ﻦ‪ ‬ﺭ‪‬ﻭﺱ‪ (1)‬ﻟﹶﺠ‪‬ﺒ‪‬ﺎﻝﹾ‬
‫ﺗ‪‬ﺤ‪‬ﻨﹺﻲ ﺑﹺﻴﻚ‪ ‬ﻣ‪‬ﺮﺕ‪ ‬ﻭ‪‬ﻟﻴﺪﻱ‪ ،‬ﻋ‪‬ﻴ‪‬ﻨﲔ‪ ‬ﻟﻐﺰﺍﻝ ‪.‬‬
‫ﺣ‪ِ‬ﻨ‪‬ﻲ ﺣ‪‬ﻨﹺّﻲ ﻳ‪‬ﺎﻟﹶﻌ‪‬ﺮﻭﺳ‪‬ﺔ ﻭ‪‬ﻳ‪‬ﺎﺭ‪‬ﺟ‪‬ﻠ‪‬ﲔﹺ ﻟﹶﺤ‪‬ﻤ‪‬ﺎﻣ‪‬ﻪ ‪.‬‬
‫ﺃﹸﺧ‪‬ﺮ‪‬ﺟﹺﻲ ﻟﹶﺒ‪‬ﻨ‪‬ﺎﺕ‪ ‬ﻋ‪‬ﻤ‪‬ﻚ‪ ‬ﻭﺑ‪‬ﻘ‪ّ‬ﻴﻬ‪‬ﻢ‪ ‬ﺑﹺﺎﻟﺴ‪‬ﻼﹶﻣ‪‬ﺔ ‪.‬‬
‫ﺇﻥﹼ ﻫﺬﻩ ﺍﻷﻏﻨﻴﺔ ﺗﻌﻜﺲ ﻟﻨﺎ ﺟﺎﻧﺒﺎ ﻣﻦ ﺍﻟﻌﺎﺩﺍﺕ ﺍﻟﱵ ﺗﺄﺻﻠﺖ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﳊﻀﲏ ﲝﻴﺚ‬
‫ﺃﺻﺒﺤﺖ ﺍﻟﻌﺎﺋﻠﺔ ﺍﳌﺴﻠﻴﺔ ﻻ ﺗﺴﺘﻄﻴﻊ ﺍﻻﺳﺘﻐﻨﺎﺀ ﻋﻨﻬﺎ ﰲ ﺃﻋﺮﺍﺳﻬﺎ‪،‬ﻛﻮﺟﻮﺏ ﻭﺿﻊ ﺍﳊﻨﺎﺀ )ﺍﳋﻀﺎﺏ(‬
‫ﻟﻠﻌﺮﻭﺱ ﻟﻴﻠﺔ ﺯﻓﺎﻓﻬﺎ‪ ،‬ﻭﻫﻲ ﻣﻦ ﻭﺳﺎﺋﻞ ﺍﻟﺰﻳﻨﺔ ﺍﻟﱵ ﺗﺘﺒﺎﻫﻰ ‪‬ﺎ ﺍﻟﻌﺮﻭﺱ ﻳﻮﻡ ﻋﺮﺳﻬﺎ ‪.‬‬
‫ﺃﻣﺎ ﻋﻦ ﺣﻠﻮﻳﺎﺕ ﺍﻟﻌﺮﺱ‪ ،‬ﻓﺎﻟﺘ‪‬ﻤﺮ ﻳﺄﰐ ﰲ ﻣﻘﺪ‪‬ﻣﺘﻬﺎ‪ ،‬ﺣﱴ ﻭﺇﻥ ﻏﺎﺑﺖ ﻫﺬﻩ ﺍﳌﺎﺩﺓ‪ .‬ﻓﺈﻥ ﺃﻫﻞ‬
‫ﺍﻟﻌ‪‬ﺮﺱ ﻳﺘﻮﺟﻬﻮﻥ ﺇﱃ ﺍﻟﺼﺤﺮﺍﺀ ﳉﻠﺒﻬﺎ‪ ،‬ﻭﺗﻘﺪﳝﻬﺎ ﻟﻀﻴﻮﻓﻬﻢ ‪.‬‬
‫) ‪(2‬‬
‫ﺃﻣ‪‬ﺎ ﻋﻦ ﺍﻷﻏﺎﱐ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﻮﺟﻬﺔ ﻟﻸﻃﻔﺎﻝ ﺍﻟﺼﻐﺎﺭ ﰲ ﺍﳌﻨﻄﻘﺔ ﻓﻜﺜﲑﺓ ﻧﺬﻛﺮ ﻣﻨﻬﺎ ‪:‬‬
‫ﻳ‪‬ﺎ ﺑ‪‬ﺎﺭﻱﹺ)‪ (3‬ﻳ‪‬ﺎﺑ‪‬ﺎﺭﻱ ﻳ‪‬ﺎﺭ‪‬ﻗﱠﺎﺩ‪(4) ‬ﺍﻟﺬﹾﺭ‪‬ﺍﺭﹺﻱ‬
‫ﺭ‪‬ﻗﹶﺪ‪ ‬ﻟ‪‬ﻲ ﺭ‪‬ﺅﻭﻑ‪ ‬ﺑ‪‬ﻴ‪‬ﻦ‪ ‬ﺍﻟﻜﹾﺮ‪‬ﻡ‪ ‬ﻭ‪‬ﺍﻟﺪ‪ْ‬ﻭ‪‬ﺍﻟ‪‬ﻲ ‪.‬‬
‫ﻭﰲ ﺃﻏﻨﻴﺔ ﺃﺧﺮﻯ ‪:‬‬
‫ﻧ‪‬ﻨﹺّﻲ ﻧ‪‬ﻨﹺّﻲ ﻳ‪‬ﺎﺑ‪‬ﺸ‪‬ﺔ‬
‫ﻭ‪‬ﺵ‪ ْ‬ﺃﹶﻟﹸﻮﺣﻮ‪ ‬ﻟﹶﻠﹶﻌ‪‬ﺸ‪‬ﺎ‬
‫ﺃﹶﻟﻮ‪‬ﺣﻮ ﺟ‪‬ﺎﺭﹺﻱ ﺑﺎﻟﺪ‪‬ﺑ‪‬ﺸ‪‬ﺔ‬
‫ﻳ‪‬ﺠﹺﻲ ﻋ‪‬ﺒ‪‬ﺪ‪ ‬ﺍﻟﺮ‪‬ﺅﻭ‪‬ﻑ‪ ‬ﻳ‪‬ﺘ‪‬ﻌ‪‬ﺸ‪‬ﺎ ‪.‬‬

‫)‪(1‬‬
‫ﺭ‪‬ﻭﺱ‪ : ‬ﲟﻌﲎ ﺭﺅﻭ‪‬ﺱ ﺃﻱ ﻗﻤﻢ ﺍﳉﺒﺎﻝ ‪.‬‬
‫)‪(2‬‬
‫ﺍﻟﺮﺍﻭﻱ ‪ :‬ﺏ‪،‬ﻋﺎﺋﺸﺔﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪1945‬ﻡ ﺭﺑ‪‬ﺔ‪ ‬ﺑﻴﺖ ‪،‬ﺑﺮﻫﻮﻡ‪.‬‬
‫)‪(3‬‬
‫ﻳﺎﺑﺎﺭﻱ‪ :‬ﻳﺎ ﺍﻟﺒﺎﺭﹺﻯﺀ‪ .‬ﻭﻫﻲ ﺇﺣﺪﻯ ﺻﻔﺎﺕ ﺍﳋﺎﻟﻖ ﻋﺰ‪ ‬ﻭﺟﻞ ‪.‬‬
‫)‪(4‬‬
‫ﺭ‪‬ﻗﱠﺎﺩ‪ : ‬ﻣ‪‬ﻨ‪‬ﻮﹺّﻡ‪. ‬‬
‫‪- 63 -‬‬
‫ﻓﻬﺬﻩ ﺍﻷﻏﻨﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻭﻏﲑﻫﺎ ﺃﺩ‪‬ﺕ ﺩﻭﺭﻫﺎ ﺍﻟﺒﺎﺭﺯ ﰲ ﺍﻟﺘﺄﺛﲑ ﺍﻟﺴﺤﺮﻱ ﻋﻠﻰ ﺍﻷﻃﻔﺎﻝ‬
‫ﺍﻟﺼﻐﺎﺭ ﻭﺟﻌﻠﺘﻬﻢ ﻳﺘﺠﺎﻭﺑﻮﻥ ﻣﻊ ﺍﻷﻡ ﺃﻭ ﺍﳉﺪﺓ ﺧﺎﺻﺔ ﻋﻨﺪ ﻣﻨﺎﺩﺍ‪‬ﻢ ﺑﺄﲰﺎﺋﻬﻢ ﰲ ﺍﻷﻏﻨﻴﺔ ‪.‬‬
‫ﻛﻤﺎ ﻛﺎﻥ ﻟﻠﺜﻮﺭﺓ ﺍﻟﺘﺤﺮﻳﺮﻳﺔ ﻧﺼﻴﺒﻬﺎ ﰲ ﺍﻷﻏﺎﱐ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺎﳌﺴﻴﻠﺔ‪ ،‬ﺣﻴﺚ ﻟﻌﺒﺖ ﻫﺬﻩ ﺍﻷﺧﲑﺓ‬
‫ﺩﻭﺭ‪‬ﺍ ﻫﺎﻣ‪‬ﺎ ﰲ ﺍﻟﺪﻓﺎﻉ ﻋﻦ ﺍﳌﻘﻮ‪‬ﻣﺎﺕ ﺍﻟﻮﻃﻨﻴﺔ‪ ،‬ﻭﺣﺚﹼ ﺍﻟﺸﻌﺐ ﻋﻠﻰ ﺍﳉﻬﺎﺩ ﻭﺍﻟﺬﻭﺩ ﻋﻦ ﺍﻟﻮﻃﻦ ﻭﻣﻦ‬
‫) ‪(1‬‬
‫ﺍﻷﻏﺎﱐ ﺍﻟﺜﻮﺭﻳﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﳒﺪ ﺃﻏﻨﻴﺔ ‪:‬‬
‫ﺯﻭ‪‬ﺝ‪ ‬ﺫﹾﺭ‪‬ﺍﺭﹺﻱ ﻃﹶﻠﹾﻌ‪‬ﻮﺍ ﻟﹶﺠ‪‬ﺒ‪‬ﺎﻝﹾ‬
‫) ‪(3‬‬
‫ﻫ‪‬ﺰ‪‬ﻭﺍ ﺍﻟﺴ‪‬ﺒ‪‬ﺘ‪‬ﺔ )‪(2‬ﻭ‪‬ﺯ‪‬ﺍﺩ‪‬ﻭ ﺍﻟﺮ‪‬ﻓﹶﺎﹾﻝ‬
‫ﺿ‪‬ﺮ‪‬ﺑ‪‬ﻮﺍ ﺿ‪‬ﺮ‪‬ﺑ‪‬ﺔ ﺣ‪‬ﺮﻗﹸﻮﺍ ﻟﻴﺸ‪‬ﺎﺭ‪‬‬
‫ﻭ‪‬ﺩ‪‬ﺭ‪‬ﺍﺑ‪‬ﻮﻧ‪‬ﺎ )‪ (4‬ﻧ‪‬ﺠ‪‬ﻤ‪‬ﺔ ﻭ‪‬ﻫ‪‬ﻼﹶﻝﹾ‬
‫ﺃﹶﻧ‪‬ﺎ ﻗﹶﺎﻋ‪‬ﺪ‪ ‬ﺗ‪‬ﺤ‪‬ﺖ‪ ‬ﺍﻟﺴﺠﺮﺓ‬
‫ﻃﺎﺣﺖ ﻋ‪‬ﻨﹺّﻲ ﻭ‪‬ﺭ‪‬ﻗﹶﺔ ﺧ‪‬ﻀ‪‬ﺮ‪‬ﺓ‬
‫ﺃﹶﻧ‪‬ﺎ ﻧ‪‬ﻜﹾﺘ‪‬ﺐ‪ ‬ﻭ ﻫ‪‬ﻲ ﺗ‪‬ﻘﹾﺮ‪‬ﺍ‬
‫ﻭ‪‬ﺍﳉﹶﺮ‪‬ﺡ‪ ‬ﻓ‪‬ﻴ‪‬ﺎ ﻣ‪‬ﺘ‪‬ﻰ ﻳ‪‬ﺒ‪‬ﺮ‪‬ﺍ ‪.‬‬
‫ﻓﻬﺬﻩ ﺍﻷﻏﻨﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺭﻏﻢ ﺑﺴﺎﻃﺘﻬﺎ‪ ،‬ﺇﻻﹼ ﺃﻧ‪‬ﻬﺎ ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ ﺗﻀﻤﻦ ﻟﻨﻔﺴﻬﺎ ﺍﻟﺒﻘﺎﺀ ﻷﻧ‪‬ﻬﺎ‬
‫ﲢﻤﻞ ﺑﲔ ﺃﻟﻔﺎﻇﻬﺎ ﻭﻋﺒﺎﺭﺍ‪‬ﺎ ﲰﺔ ﺍﳉﻮﺩﺓ ﻭﺍﻟﻮﻃﻨﻴﺔ ﻓﻘﺪ ﺟﻌﻠﺖ ﺍﻷﺟﻴﺎﻝ ﺗﺘﻨﺎﻗﻠﻬﺎ ﻋﱪ ﺍﻷﺯﻣﻨﺔ ﻣﻨﺬ‬
‫ﻓﺠﺮ ﺍﻟﺜﻮﺭﺓ ﺇﱃ ﻭﻗﺘﻨﺎ ﺍﳊﺎﱄ ‪.‬‬
‫ﻛﻤﺎ ﺃﻧ‪‬ﻬﺎ ﳕﻮﺫﺝ ﺣﻲ‪ ‬ﻳ‪‬ﺼﻮ‪‬ﺭ ﻟﻨﺎ ﻫﻴﺌﺔ ﺍﳉﻨﺪﻱ ﺍﻟﺸﺎﺏ ﻭﻫﻮ ﳛﻤﻞ ﺍﻟﺒﻨﺪﻗﻴﺔ ﻭﻳﺘﺠﻪ ﳓﻮ ﺍﳉﺒﻞ‬
‫ﻟﻠﺠﻬﺎﺩ‪ ،‬ﺿﻒ ﺇﱃ ﺫﻟﻚ ﺃ‪‬ﺎ ﲤﺜﻞ ﺭﺳﺎﻟﺔ ﻣﻮﺟﻬﺔ ﻟﻠﻤﺤﺘﻞ ﺍﻟﻔﺮﻧﺴﻲ‪ ،‬ﻣﻀﻤﻮ‪‬ﺎ ﺃﻥﹼ ﺍﳉﺰﺍﺋﺮ ﺃﺭﺿﻨﺎ‬
‫ﻭﻟﻦ ﻧﺴﻤﺢ ﻓﻴﻬﺎ‪ ،‬ﻭﺳﻴﺒﻘﻰ ﺍﳍﻼﻝ ﻭﺍﻟﻨﺠﻤﺔ ﺷﻌﺎﺭﻧﺎ ﺇﱃ ﺍﻷﺑﺪ‪.‬‬
‫ﻭﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥ ﻫﺬﻩ ﺍﻷﻏﺎﱐ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻠﻴﺔ ‪ ،‬ﻣﺎ ﻫﻲ ﺇﻻﹼ ﻗﻠﻴﻞ ﻣﻦ ﻛﺜﲑ ﺃﺑﺪﻋﺘﻪ ﺃﲰﺎﺀ‬
‫ﳎﻬﻮﻟﺔ‪ ،‬ﺗﺴﺘﺤﻖ‪ ‬ﻣﻨﺎ ﺍﻟﺘﻘﺪﻳﺮ ﻷﻧ‪‬ﻬﺎ ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ ﺗﻀﻴﻒ ﻟﺮﺻﻴﺪﻧﺎ ﺍﻟﺸﻌﱯ ﻣﺎﺩﺓ ﺃﺻﻠﻴﺔ ﻫﻲ ﺍﻷﻏﻨﻴﺔ‬

‫)‪ (1‬ﺍﻟﺮﺍﻭﻱ ‪ :‬ﺏ‪،‬ﻋﺎﺋﺸﺔ ﻣﻦ ﻣﻮﺍﻟﻴﺪ‪1945‬ﻡ ﺭﺑ‪‬ﺔ‪ ‬ﺑﻴﺖ ‪،‬ﺑﺮﻫﻮﻡ‪.‬‬

‫)‪ (2‬ﺍﻟﺴ‪‬ﺒ‪‬ﺘ‪‬ﺔ ‪ :‬ﺍﳊﺰﺍﻡ ﺍﻟﺬﻱ ﳛﻮﻱ ﺍﻟﺮﺻﺎﺹ ﻭﻳﻀﻌﻪ ﺍﳉﻨﺪﻱ ﺣﻮﻝ ﺧﺼﺮﻩ ‪.‬‬
‫)‪ (3‬ﺍﻟﺮ‪‬ﻓﹶﺎﻝ‪ :‬ﺍﻟﺒﻨﺪﻗﻴﺔ ﺃﻭ ﺍﻟﺴﻼﺡ ‪.‬‬
‫)‪ (4‬ﺩ‪‬ﺭ‪‬ﺑﻮﻧ‪‬ﺎ‪ :‬ﻋ‪‬ﻠﹶﻤ‪‬ﻨ‪‬ﺎ‪ ،‬ﺭﺍﻳﺘﻨﺎ ﻭﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﻟﻔﻈﺔ ﻓﺮﻧﺴﻴﺔ ‪.‬‬
‫‪- 64 -‬‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻠﻴﺔ‪ ،‬ﺑﺄﺳﻠﻮ‪‬ﺎ ﺍﳌﻮﺳﻴﻘﻲ ﺍﳌﺘﻤ‪‬ﻴﺰ ﻭﻣﺮﻭﻧﺘﻬﺎ ﺍﻟﱵ ﺃﺳﻬﻤﺖ ﰲ ﺣﻔﺮﻫﺎ ﺩﺍﺧﻞ ﺫﺍﻛﺮﺗﻨﺎ‬
‫ﺍﳉﻤﺎﻋﻴﺔ ‪.‬‬
‫ﻭﻣﻬﻤﺘﻨﺎ ﳓﻦ ﺍﻟﻴﻮﻡ ﺍﶈﺎﻓﻈﺔ ﰒ ﺍﶈﺎﻓﻈﺔ ﻋﻠﻰ ﻫﺬﺍ ﺍﳌﻮﺭﻭﺙ ﺍﻟﺸﻌﱯ ‪.‬‬
‫ﺏ‪ 3-‬ﺍﻟﺮ‪‬ﻗﺺ ﺍﻟﺸﻌﱯ ‪:‬‬
‫ﺇﻥﹼ ﻣﻦ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﱵ ﺗﺆﺩﻳﻬﺎ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺍﻟﺮﻗﺺ‪ ،‬ﻓﻬﻮ ﺇﺑﺪﺍﻉ‬
‫ﺍﻟﻨﺎﺱ‪ " ،‬ﻭﻫﻮ ﻧﺘﺎﺝ ﺍﳊﻴﺎﺓ ﻧﻔﺴﻬﺎ‪ ،‬ﺍﻧﺒﺜﻖ ﻣﻦ ﻧﺸﺎﻃﺎﺕ ﻟﻴﻌﻜﺲ ﺃﻋﻤﺎﳍﻢ ﺍﻟﱵ ﻳﻘﻮﻣﻮﻥ ‪‬ﺎ ﻭﺃﻋﻴﺎﺩﻫﻢ‬
‫) ‪(1‬‬
‫ﻭﺍﺣﺘﻔﺎﻻ‪‬ﻢ ﻭﻃﻘﻮﺳﻬﻢ ﺍﻟﱵ ﳝﺎﺭﺳﻮ‪‬ﺎ ‪".‬‬
‫ﻓﺎﻟﺮﻗﺺ ﺍﻟﺸﻌﱯ ﺇﺫﻥ‪ ،‬ﻓﻦ ﻳﺮﺑﻂ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺑﺒﻴﺌﺔ ﻷﻧﻪ ﻳﺴﻤﺢ ﻟﻪ ﺑﺄﻥ ﻳﻌﺒ‪‬ﺮ ﻋﻦ ﻋﺎﺩ‪‬ﺎ‬
‫ﻭﺗﻘﺎﻟﻴﺪﻫﺎ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻃﺎﺑﻊ ﳑﻴ‪‬ﺰ‪ " ،‬ﺑﻞ ﻫﻮ ﻣﺮﺁﺓ ﺗﻌﻜﺲ ﺗﺎﺭﳜﻬﻢ ﻭﺍﻷﺣﻮﺍﻝ ﺍﻟﻄﺒﻴﻌﻴﺔ ﺍﻟﱵ ﻳﻌﻴﺸﻮﻥ‬
‫) ‪(2‬‬
‫ﻓﻴﻬﺎ ﻭﻋﺎﺩﺍ‪‬ﻢ ﺍﳋﺎﺻﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ "‬
‫ﻭﻋﺎﺩﺓ ﻣﺎ ﻳﻜﻮﻥ ﺍﻟﺮﻗﺺ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺗﺎﺑﻌﺎ ﻟﻠﻐﻨﺎﺀ‪ ،‬ﰲ ﺍﳌﻨﺎﺳﺒﺎﺕ ﻭﺍﻷﻓﺮﺍﺡ ﻭﺧﺎﺻﺔ ﰲ‬
‫ﺍﻷﻋﺮﺍﺱ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﻣﺘﻌﻠﹼﻖ ﺑﺎﻟﻨﺴﺎﺀ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺮﺟﺎﻝ‪ ،‬ﺣﻴﺚ ﻳﺘﻮﺍﺭﺛﻪ ﺍﻟﺼﻐﺎﺭ ﻋﻦ ﺍﻟﻜﺒﺎﺭ‪ ،‬ﺩﻭﻥ ﻋﻨﺎﺀ‬
‫) ‪(3‬‬
‫ﺗﻌﻠﹼﻤﻪ ﻷﻧﻪ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﺮﺅﻳﺔ ﻭﺍﻟﺘﻘﻠﻴﺪ ﻓﻘﻂ ﻓﻬﻮ" ﻟﻐﺔ ﻋﺎﳌﻴﺔ ﺍﺳﺘﻐﻨﺖ ﻋﻦ ﺍﻷﻟﻔﺎﻅ ﺑﺎﳊﺮﻛﺎﺕ "‬
‫ﻓﺘﺘﺒﻊ ﺍﳊﺮﻛﺎﺕ ﻭﺇﻋﺎﺩﺓ ﺗﻄﺒﻴﻘﻬﺎ ﺃﻣﺮ ﺳﻬﻞ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺃﺧﺬ ﻧﺺ‪ ‬ﻣ‪‬ﺎ ﻭﺍﻟﻌﻤﻞ ﻋﻠﻰ ﺣﻔﻈﻪ ﺣﻴﺚ‬
‫ﺳﻴﺴﺘﻐﺮﻕ ﺍﻷﻣﺮ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﻮﻗﺖ ‪.‬‬
‫ﻭﺍﻟﺮﻗﺺ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺃﻧﻮﺍﻉ ﻣﻨﻬﺎ‪:‬ﺍﻟﺮﻗﺺ ﺍﻟﻨﺎﻳﻠﻲ ﺍﻟﺬﻱ ﳝﻴ‪‬ﺰ ﺟﻞ ﺍﳌﻨﻄﻘﺔ ﻳﻀﺎﻑ ﺇﻟﻴﻪ‬
‫ﺍﻟﺮﻗﺺ ﺍﻟﺴﻄﺎﻳﻔﻲ ﻭﺍﻟﺸﺎﻭﻱ‪....،‬ﻭﺭﻗﺼﺔ ﺍﳋﻴﻞ ﺍﳌﺮﻓﻮﻗﺔ ﺑﺎﻟﻌﺼﻲ ﻭﻫﻲ ﺧﺎﺻﺔ ﺑﺎﻟﺮﺟﺎﻝ‪.‬‬
‫ﻓﺎﻟﺮﻗﺺ ﺍﻟﺸﻌﱯ ﺇﺫﻥ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻓﻦ ﲤﺎﺭﺳﻪ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻟﻪ ﺃﻫﺪﺍﻑ ﻫﻲ ﻏﺎﻳﺔ ﰲ ﺍﻷﳘﻴﺔ‬
‫) ‪(4‬‬
‫ﻧﺬﻛﺮ ﻣﻨﻬﺎ ‪:‬‬
‫‪ -‬ﺗﻨﻤﻴﺔ ﺍﻟﻘﻴﻢ ﻭﺍﻻﺣﺘﺮﺍﻡ ﻟﻠﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ ‪.‬‬
‫‪ -‬ﻳﺰﻳﺪ ﻣﻦ ﺍﻟﺼﺤﺔ ﺍﳉﺴﻤﻴﺔ ‪.‬‬

‫)‪ (1‬ﻓﻮﺯﻱ ﺍﻟﻌﻨﺘﻴﻞ ‪ :‬ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻣﺎ ﻫﻮ ؟ ‪،‬ﺹ‪.143‬‬

‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪:‬ﺹ‪.143‬‬
‫)‪ (3‬ﻧﺎﺩﻳﺎ ﺍﻟﺪﻣﺮﺩﺍﺵ‪ ،‬ﻋﻼﺗﻮﻓﻴﻖ‪ :‬ﻣﺪﺧﻞ ﺇﱃ ﻋﻠﻢ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪،‬ﺹ‪.86‬‬
‫)‪(4‬ﻧﺎﺩﻳﺎ ﺍﻟﺪﻣﺮﺩﺍﺵ‪ ،‬ﻋﻼ ﺗﻮﻓﻴﻖ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.89‬‬
‫‪- 65 -‬‬
 ‫‪ -‬ﺗﻨﻤﻴﺔ ﺍﻟﻌﻮﺍﻃﻒ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﳌﺮﻏﻮﺑﺔ ‪.‬‬
‫‪ -‬ﻭﺳﻴﻠﺔ ﻣﻦ ﻭﺳﺎﺋﻞ ﺍﻟﺘﺮﻭﻳﺢ ﻭﺍﳌﺘﻌﺔ ‪.‬‬
‫‪ -‬ﻳﺴﺎﻋﺪ ﺍﻟﻔﺮﺩ ﰲ ﺯﻳﺎﺩﺓ ﻣﻌﻠﻮﻣﺎﺗﻪ ﻋﻦ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻷﺧﺮﻯ ﻭﻳﻔﺘﺢ ﳎﺎﻻ ﻟﺘﺒﺎﺩﻝ ﺍﳌﻌﻠﻮﻣﺎﺕ‬
‫‪ -‬ﻭﺳﻴﻠﺔ ﺇﻋﻼﻣﻴﺔ ﻫﺎﻣﺔ ﻟﻨﻘﻞ ﺍﻷﻓﻜﺎﺭ ﻭﺍﳌﻌﺘﻘﺪﺍﺕ ﻭﺃﺳﻠﻮﺏ ﻟﻌﺮﺽ ﺍﻟﻘﻀﺎﻳﺎ ﺍﳌﺨﺘﻠﻔﺔ ﺳﻮﺍﺀ‬
‫ﺳﻴﺎﺳﻴﺔ ﺃﻭ ﺍﺟﺘﻤﺎﻋﻴﺔ‪...‬ﺍﱁ ﺇﱃ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ ‪.‬‬
‫ﺇﻥﹼ ﺍﻷﻫﺪﺍﻑ ﺍﻟﺴﺎﻣﻴﺔ ﺍﳌﺬﻛﻮﺭﺓ ﻟﻠﺮﻗﺺ ﺍﻟﺸﻌﱯ ﺗﻌﻜﺲ ﺣﻘﻴﻘﺔ ﻫﺬﺍ ﺍﻟﻔﻦ ﺍﻟﺸﻌﱯ ‪ ،‬ﻭﺗﻮﻓﺮﻩ ﰲ‬
‫ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻠﻴﺔ ﻳ‪‬ﺜﺒﺖ ﻣﺪﻯ ﻓﻮﻟﻜﻠﻮﺭﻳﺔ ﺍﳌﻨﻄﻘﺔ ‪.‬‬
‫ﺏ‪ 4-‬ﺍﻟﻄﺐ ﺍﻟﺸﻌﱯ ‪:‬‬
‫ﻳﻌﺘﱪ ﺍﻟﻄﺐ ﻣﻦ ﺃﻫﻢ ﺍﳋﺪﻣﺎﺕ ﺍﻟﱵ ﳚﺐ ﺃﻥ ﺗﺘﻮﻓﺮ ﰲ ﻛﻞ ﻣﻜﺎﻥ ﻣﻦ ﺍﻟﻌﺎﱂ ﺳﻮﺍﺀ ﰲ ﺍﻟﻘﺮﻳﺔ‬
‫ﺃﻭ ﰲ ﺍﳌﺪﻳﻨﺔ‪ ،‬ﰲ ﺍﻟﺘﻞ ﺃﻭ ﰲ ﺍﻟﺼﺤﺮﺍﺀ ﳌﺎ ﻟﻪ ﻣﻦ ﺿﺮﻭﺭﺓ ﻣﻠﺤ‪‬ﺔ ﰲ ﺣﻔﻆ ﺍﻟﺼﺤ‪‬ﺔ ﻭﺍﻟﻮﻗﺎﻳﺔ ﻣﻦ‬
‫ﺍﻷﻣﺮﺍﺽ‪ ،‬ﻭﻗﺪ ﻭﻓﺮﺕ ﻃﺒﻴﻌﺔ ﺍﳌﻨﻄﻘﺔ ﻟﻠﺠﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﺎ ﺍﺣﺘﺎﺟﺖ ﺇﻟﻴﻪ ﻣﻦ ﺍﻷﻋﺸﺎﺏ ﺍﻟﻄﺒﻴﺔ‬
‫ﻟﻄﺒﻴﻌﺘﻬﺎ ﺍﻟﻔﻼﺣﻴﺔ ‪.‬‬
‫ﻛﻤﺎ ﻣﺎﺭﺳﺖ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻄﺐ ﺑﺎﻷﻋﺸﺎﺏ ﻣﻨﺬ ﻋﺎﺑﺮ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﻻﺭﺗﺒﺎﻃﻪ ﺍﻟﻮﺛﻴﻖ‬
‫ﺑﺎﻷﺭﺽ ﻭﺗﻘﺪﻳﺴﻪ ﳍﺎ‪ ،‬ﻛﻤﺎ ﺃﻥﹼ ﺍﻟﻨﻈﺎﻡ ﺍﻟﻐﺬﺍﺋﻲ ﻷﻫﻞ ﺍﳌﻨﻄﻘﺔ ﺧﺎﺻﺔ ﰲ ﺍﻟﻘﺪﱘ ﻭﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻌﺘﻤﺪ‬
‫ﻋﻠﻰ ﺣﺪ‪ ‬ﺗﻌﺒﲑﻫﻢ ﻋﻠﻰ ﺍﻷﻃﻌﻤﺔ ﺍﳊﻴﺔ ﺍﻟﻄﺎﺯﺟﺔ‪ ،‬ﻭﺍﳌﺘﻤﺜﻠﺔ ﰲ ﺍﻟﻘﻤﺢ ﻭﺍﻷﻟﺒﺎﻥ ﻭﺍﳋﻀﺮ" ﰒﹼ ﺇﻥﹼ‬
‫ﺍﻟﺮﻳﺎﺿﺔ ﻓﻴﻬﻢ ﻣﻦ ﻛﺜﺮﺓ ﺍﳊﺮﻛﺔ ﻣﻦ ﺭﻛﺾ ﺃﻭ ﺻﻴﺪ ﺃﻭ ﻃﻠﺐ ﺍﳊﺎﺟﺎﺕ ﺃﻭ ﻣﻬﻨﺔ‬
‫) ‪(1‬‬
‫ﺃﻧﻔﺴﻬﻢ‪...‬ﻓﻴﺤﺴﻦ ﺑﺬﻟﻚ ﺍﳍﻀﻢ"‪.‬‬
‫ﻭﻳﺘﺪﺍﻭﻝ ﺃﻫﻞ ﺍﳌﻨﻄﻘﺔ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩﻛﻠﹼﻪ ﺣﻜﺎﻳﺔ ﺃﺣﺪ ﺍﻷﻃﺒﺎﺀ ﰲ ﺍﳊﻘﺒﺔ ﺍﻻﺳﺘﻌﻤﺎﺭﻳﺔ‬
‫) ‪(2‬‬
‫ﻓﻴﻘﻮﻟﻮﻥ ‪:‬‬
‫ﰲ ﺍﻟﻨﻬﺎﺭﺍﺕ ﻧﺘﺎﻉ ﺍﻻﺳﺘﻌﻤﺎﺭ ﺟﺎﻃﺒﻴﺐ ﺑﺮ‪‬ﺍﱐ)‪ (3‬ﰲ ﻭﻗﺖ ﺻﻴﻒ ﻟﻘﺎ ﺍﻟﻔﻠﻔﻞ ﻣﻐﺮﻭﺱ ﻭﺍﻟﻨﺎﺱ‬
‫ﻳﺎﻛﻠﻮﺍ ﻓﻴﻪ ﻟﻴﻞ ﻭ‪‬ﺎﺭ‪.‬‬

‫)‪(1‬‬
‫ﺍﺑﻦ ﺧﻠﺪﻭﻥ‪ :‬ﺍﻟﻌﱪ‪،‬ﺝ‪ ،2‬ﺹ‪.723‬‬
‫)‪(2‬‬
‫ﺍﻟﺮﺍﻭﻱ ‪ :‬ﺍﳊﺎﺝ ﻋﻤ‪‬ﺎﺭ‪ 59 ،‬ﺳﻨﺔ ‪،‬ﺳﺎﺣﺔ ﺍﻟﺸﻬﺪﺍﺀ ﺍﳌﺴﻴﻠﺔ ‪.‬‬
‫)‪(3‬‬
‫ﺑﺮ‪‬ﺍﱐ= ﻏﺮﻳﺐ ﻋﻦ ﺍﳌﻨﻄﻘﺔ ‪.‬‬
‫‪- 66 -‬‬
‫ﻗﺎﻝ ﺍﻟﻄﺒﻴﺐ‪ :‬ﻫ‪‬ﻨﺎ ﻧﻀﺮﺏ ﺿﺮﺑﱵ‪ ،‬ﺿﺮﻙ ﳝﺮﺿﻮﺍ ﻭﺍﺣﺪ ﻣﻦ ﻭﺭﺍ ﻟﻮﺧﺮ‪ ،‬ﻭﻣﺸﺎﺕ ﻟﻴ‪‬ﺎﻡ‬
‫ﻭﻣﺎﺭﺍﺣﺶ ﺣﱴ ﻭﺍﺣﺪ ﻟﻠﻄﺒﻴﺐ‪...‬ﺣﺘ‪‬ﺎﻥ ﳊﻖ ﺍﻟﺸﺘﺎ‪ ،‬ﺭﺍﺡ ﺍﻟﻄﺒﻴﺐ ﻟﻠﺒﺤﺎﻳﺮ)‪ (1‬ﻟﻘﺎﻫﺎ ﻣﻐﺮﻭﺳﺔ ﺃﻧﻮﺍﻉ‬
‫ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﳋﻀﺮﺓ‪ ،‬ﻭﻟﻘﺎﻫﻢ ﻳﺎﻛﻠﻮﺍ ﻓﺎﻟﺮﻣﺎﻥ‪،‬ﺗﻌﺠ‪‬ﺐ ﺍﻟﻄﺒﻴﺐ ﻭﻗﺎﻝ‪ :‬ﻫﺎﺫﻭ ﺍﻟﻘﻮﻡ ﳝﺮﺿﻮﺍ ﺭﻭﺍﺣﻬﻢ‬
‫ﻭﻳﺪﺍﻭﻭ ﺭﻭﺍﺣﻬﻢ ﺑﻼﺻﱵ)‪ (2‬ﻣﺎ ﻫﻴﺶ ﻫﻨﺎ ‪.‬‬
‫ﺇﻥ ﺳﺒﺐ ﺭﺣﻴﻞ ﺍﻟﻄﺒﻴﺐ ﻳﺮﺟﻊ ﺇﱃ ﺃﻥ ﺃﻫﻞ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻛﺎﻧﻮﺍ ﺑﻞ ﻭﻻﺯﺍﻟﻮﺍ ﻳﻌﺘﻤﺪﻭﻥ ﻛ ﹼﻞ‬
‫ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻷﻋﺸﺎﺏ ﺍﻟﻄﺒﻴﺔ ﳑ‪‬ﺎ ﻳﺆﻛﹼﺪ ﻋﺮﺍﻗﺔ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻄﺐ ﺍﻟﺸﻌﱯ ﻓﻴﻬﺎ‪ ،‬ﺣﻴﺚ ﺍﻛﺘﺸﻒ‬
‫ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺃﳘﻴﺔ ﻫﺬﻩ ﺍﻷﻋﺸﺎﺏ ﺑﺎﻟﺘﺠﺮﺑﺔ ﻭﺍﳌﻤﺎﺭﺳﺔ‪ ،‬ﻭﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻄﺐ ﻛﺎﻥ ﻳﻘﺘﺼﺮ‬
‫ﻋﻠﻰ ﺃﺷﺨﺎﺹ ﻣﻌﻴﻨﲔ ﻳﺸﺘﻬﺮﻭﻥ ﲞﱪ‪‬ﻢ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﻓﻬﻨﺎﻙ ﻣﻦ ﻛﺎﻧﺖ ﳑﺎﺭﺳﺘﻪ ﻟﻠﻄﺐ ﻣﺼﺪﺭ‬
‫ﺭﺯﻕ ﻟﻪ‪ ،‬ﻭﻫﻨﺎﻙ ﻣﻦ ﻳﻘﺪ‪‬ﻣﻬﺎ ﳎ‪‬ﺎﻧﺎ ﻣﻦ ﺩﻭﻥ ﺃﻥ ﻳﺸﺘﺮﻁ ﺍﻟﺴﻌﺮ‪.‬‬
‫ﻛﻤﺎ ﺃﻥﹼ ﻫﻨﺎﻙ ﻣﻦ ﻳﻌﻴﺸﻮﻥ ﺑﺒﻴﻊ ﺍﻷﻋﺸﺎﺏ ﺍﻟﻄﺒﻴﺔ ﺍ‪‬ﻔﻔﺔ ﰲ ﺍﻷﺳﻮﺍﻕ ﺍﻷﺳﺒﻮﻋﻴﺔ ﻛﺴﻮﻕ‬
‫ﺍﻟﻜﺪﻳﺔ ﺑﺒﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ﻣﺜﻼ ﺣﻴﺚ ﻳﺪﻋﻮﺍ ﺍﻟﻨﺎﺱ ﺑﺼﻮﺕ ﻣﺮﺗﻔﻊ ﻭﻣﺴﺠﻮﻉ ﻟﻠﺘﺄﺛﲑ ﻓﻴﻬﻢ ﻭﻟﻔﺖ‬
‫ﺍﻧﺘﺒﺎﻫﻬﻢ‪ ،‬ﻗﺼﺪ ﺟﻠﺒﻬﻢ ﻟﻠﺸﺮﺍﺀ ﻭﻳﻘﺪﻡ ﺍﻷﻋﺸﺎﺏ ﺍﻟﱵ ﻳﺒﻴﻌﻬﺎ ﻭﻛﺄ‪‬ﺎ ﻭﺻﻔﺎﺕ ﺳﺤﺮﻳﺔ ‪.‬‬
‫ﻭﻧﺴﺘﻄﻴﻊ ﺃﻥ ﳕﻴ‪‬ﺰ ﺑﲔ ﻧﻮﻋﲔ ﻣﻦ ﺍﻟﻌﻼﺝ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ‪ ,‬ﻋﻼﺝ ﻣﺎﺩﻱ ﻭﺁﺧﺮ ﺭﻭﺣﻲ‪:‬‬
‫ﺃ‪ -‬ﺍﻟﻌﻼﺝ ﺍﳌﺎﺩﻱ‪ :‬ﻭﻳﻘﺘﺼﺮ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻌﻼﺝ ﻋﻠﻰ ﺍﻷﻋﺸﺎﺏ ﺍﻟﻄﺒﻴﺔ‪ ،‬ﺣﻴﺚ ﻳﻌﺎﰿ‬
‫ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺁﻻﻡ ﺍﻟﺒﻄﻦ ﻣﺜﻼ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻋﺸﺎﺏ ﺍﳌﺘﻮﻓﺮﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ﺑﺸﻜﻞ ﻛﺒﲑ ﻣﺜﻞ‪:‬‬
‫ﺍﻟﺸﻴﺢ ﻭﺍﻟﻨﻌﻨﺎﻉ ﻭﺍﻟﻌﺮﻋﺎﺭ ﻭﻋﺸﺒﺔ ﻣﺮﱘ‪....‬‬
‫ﻛﻤﺎ ﻳﻌﺎﰿ ﺁﻻﻡ ﺍﻟﺮﺃﺱ ﻭﺍﻟﺼﺮﻉ ﺑﺎﳊﺠﺎﻣﺔ ‪ ،‬ﺃﻣ‪‬ﺎ ﺍﻟﺰﻛﺎﻡ ﻓﻴﺘﻨﺎﻭﻝ ﻟﻪ ﺍﻟﻌﺴﻞ ﻭﻳﺘﺒﺨ‪‬ﺮ ﻋﻠﻰ ﻧﺒﺘﺔ‬
‫ﺍﻟﺰﻋﺘﺮ‪ ،‬ﻭﻳﺸﺮﺏ ﺍﳌﺎﺀ ‪.‬‬
‫ﻭﻳﻌﺎﰿ ﺁﻻﻡ ﺍﻟﻈﻬﺮ ﻭﺍﳌﻔﺎﺻﻴﻞ ﺑﻨﺒﺘﺔ ﺍﻟﺪﺭﻳﺎﺱ ﺑﻌﺪ ﺩﻗﹼﻬﺎ ﻭﻭﺿﻌﻬﺎ ﻋﻠﻰ ﻣﻜﺎﻥ ﺍﻷﱂ ﻭﻳﻄﻠﻖ‬
‫) ‪(3‬‬
‫ﻋﻠﻴﻪ ﰲ ﺍﳌﻨﻄﻘﺔ ﺍﺳﻢ ﺑﻮﻧﺎﻓﻊ‬

‫)‪(1‬‬
‫ﺍﻟﺒﺤﺎﻳﺮ = ﺍﻟﺒﺴﺎﺗﲔ ‪.‬‬
‫)‪(2‬‬
‫ﺑﻼﺻﱵ = ﻣﻜﺎﱐ ‪.‬‬
‫)‪(3‬‬
‫ﺑﻮﻧﺎﻓﻊ = ﺑﻨﺎﺕ ﺟﺒﻠﻲ ﻳﺴﺘﻌﻤﻞ ﰲ ﺍﳌﻨﻄﻘﺔ ﻟﻠﺘﺪﺍﻭﻱ ﺑﻪ‪ ،‬ﺃﹸﻃﻠﻘﺖ ﻋﻠﻴﻪ ﻫﺬﻩ ﺍﻟﺘﺴﻤﻴﺔ ﻷﻧﻪ ﻳﻨﻔﻊ ‪.‬‬
‫‪- 67 -‬‬
‫ﻭﻳﻌﺎﰿ ﻣﺮﺽ ﺍﻟﺼ‪‬ﻔ‪ّ‬ﲑ‪ (1) ‬ﻣﻦ ﻃﺮﻑ ﻣ‪‬ﻌﺎﰿ ﻣﺘﻤﻜﹼﻦ ﻭﺭﺙ ﻫﺬﻩ ﺍﳊﺮﻓﺔ ﺃﺑﺎ ﻋﻦ ﺟﺪ ‪،‬ﺣﻴﺚ‬
‫ﻳﻘﻮﻡ ﲜﺮﺡ ﺍﳌﺮﻳﺾ ﺟﺮﻭﺣ‪‬ﺎ ﺳﻄﺤﻴﺔ ﰲ ﻣﻨﺎﻃﻖ ﳐﺘﻠﻔﺔ ﻣﻦ ﺍﳉﺴﺪ ﰒﹼ ﻳﺘﻢ‪ ‬ﺣﻜﻬﺎ ﲟﺎﺩﺓ ﺍﻟﺮﺻﺎﺹ‬
‫ﺑﻌﺪ ﻟﻔﹼﻬﺎ ﰲ ﺍﻟﻘﻄﻦ ‪.‬‬
‫ﺏ ‪-‬ﺍﻟﻌﻼﺝ ﺍﻟﺮ‪‬ﻭﺣﻲ‪ :‬ﻳﻠﺠﺎ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﺇﱃ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻌﻼﺝ ﰲ ﺍﻷﻣﺮﺍﺽ‬
‫ﺍﻟﺬﻱ ﻳﻌﺘﻘﺪ ﺑﺄﻧ‪‬ﻬﺎ ﻏﲑ ﻋﻀﻮﻳﺔ ﺃﻱ ﺭﻭﺣﻴﺔ ﻭﻳﻨﻘﺴﻢ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻌﻼﺝ ﻋﻠﻰ ﻗﺴﻤﲔ‪:‬‬
‫‪ -‬ﺍﻟﻌﻼﺝ ﺍﻟﺮﻭﺣﻲ ﺍﻟﺸ‪‬ﺮﻋﻲ‪ :‬ﻭﻳ‪‬ﺪﻋﻰ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻌﻼﺝ ﺑﺎﻟﺮﻗﻴﺔ ﺍﻟﺸﺮﻋﻴﺔ ﻭﺍﻟﱵ ﺗﻘﺘﺼﺮ‬
‫ﻋﻠﻰ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﻓﻘﻂ‪ ،‬ﻣﻊ ﻭﺻﻒ ﺑﻌﺾ ﺍﻟﻌﻘﺎﻗﲑ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﻭﻣﻦ ﺍﻷﻣﺮﺍﺽ ﺍﻟﱵ ﺗﺘﻢ‬
‫ﻣﻌﺎﳉﺘﻬﺎ ‪‬ﺬﻩ ﺍﻟﻄﺮﻳﻘﺔ‪ ،‬ﺍﻟﻜﻠﺐ‪ ،‬ﻭﻣﻦ ﻳ‪‬ﻌﺘﻘﺪ ﺑﺄﻧﻪ ﳑﺴﻮﺱ ﺟﻨﻴ‪‬ﺎ‪ ،‬ﻛﻤﺎ ﺗ‪‬ﻌﺎﰿ ﺍﻟﺮﻗﻴﺔ ﺍﻟﺴﺤﺮ‪،‬‬
‫ﻭﺗﺒﻄﻠﻪ‪،‬ﻛﺬﻟﻚ ﺍﻟﺘﺒﻮﻝ ﺍﻟﻼﺇﺭﺍﺩﻱ‪ ،‬ﻭﺍﻟﻜﻮﺍﺑﻴﺲ ﺍﳌﺰﻋﺠﺔ‪ ،‬ﻛﻤﺎ ﻳﻜﻮﻥ ﺍﻟﻌﻼﺝ ﺍﻟﺮﻭﺣﻲ ﺍﻟﺸﺮﻋﻲ ﰲ‬
‫ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﻭﺳﻴﻠﺔ ﻟﻠﺘﺤﺼﻦ ﻣﻦ ﺍﳉﻦ ﻭﺍﻟﺸﻴﺎﻃﲔ ‪.‬‬
‫‪-‬ﺍﻟﻌﻼﺝ ﺍﻟﺮﻭﺣﻲ ﻏﲑ ﺍﻟﺸﺮﻋﻲ‪ :‬ﻭﻳ‪‬ﻠﺠﺄ ﰲ ﻫﺬﺍ ﺍﻟﻨ‪‬ﻮﻉ ﻣﻦ ﺍﻟﻌﻼﺝ ﺇﱃ ﺍﻟﻌﺮ‪‬ﺍﻓﺎﺕ ﻭﺍﻟﻌﺮﺍﻓﲔ‪،‬‬
‫ﺣﻴﺚ ﺗﻌﺘﻘﺪ ﻓﺌﺔ ﻣﻦ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺎﳌﻨﻄﻘﺔ ﺃﻥ ﻟﺪﻳﻬﻢ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﻋﻼﺝ ﺍﻷﻣﺮﺍﺽ ﺑﻮﺍﺳﻄﺔ ﲨﻠﺔ‬
‫ﻣﻦ ﺍﻟﻌﻘﺎﻗﲑ‪ ،‬ﻭﺍﻟﺸﻌﻮﺫﺍﺕ ﻏﲑ ﺍﳌﻔﻬﻮﻣﺔ ﻭﺍﶈﺮ‪‬ﻣﺔ ﺃﺳﺎﺳ‪‬ﺎ‪.‬‬
‫ﻳﻀﺎﻑ ﺇﱃ ﺫﻟﻚ ﺯﻳﺎﺩﺓ ﺍﻷﺿﺮﺣﺔ ﻃﻠﺒﺎ ﻟﻠﺸﻔﺎﺀ‪ ،‬ﺧﺎﺻﺔ ﺫﻭﻱ ﺍﻷﻣﺮﺍﺽ ﺍﳌﺰﻣﻨﺔ ﻭﺍﻟﻨﺴﺎﺀ‬
‫ﺍﻟﻌﻘﻴﻤﺎﺕ ) ﺍﻟﻠﻮﺍﰐ ﻛﹸﺘﺐ ﻋﻠﻴﻬﻦ ﻋﺪﻡ ﺍﻹﳒﺎﺏ(‪ ،‬ﻏﲑ ﺃﻥ ﻫﺬﻩ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻧﻌﺪﻣﺖ ﰲ ﺍﻟﺴﻨﻮﺍﺕ‬
‫ﺍﻷﺧﲑﺓ ﺑﺎﳌﻨﻄﻘﺔ‪.‬‬
‫ﺏ‪ 5-‬ﺍﻷﻟﻌﺎﺏ ﺍﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫ﺗﺰﺧﺮ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ ﺑﻌﺪﺩ ﻻ ﻳ‪‬ﺤﺼﻰ ﻣﻦ ﺍﻷﻟﻌﺎﺏ ﺍﻟﺸﻌﺒﻴﺔ ‪ ،‬ﺍﻟﱵ ﺗﺴﺪ‪ ‬ﺎ ﺍﳉﻤﺎﻋﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﺃﻭﻗﺎﺕ ﻓﺮﺍﻏﻬﺎ ‪ ،‬ﻭﺗﻨﻤﻲ ‪‬ﺎ ﺛﻘﺎﻓﺘﻬﺎ ﻭﺗﻔﻜﲑﻫﺎ‪ ،‬ﺑﻞ ﻭﺗﺰﺭﻉ ﺍﶈﺒﺔ ﺑﲔ ﺍﻟﻨﺎﺱ ﺣﲔ ﳚﺘﻤﻊ‬
‫ﺍﻷﻓﺮﺍﺩ ﺣﻮﳍﺎ ‪.‬‬
‫" ﺇ‪‬ﺎ ﻣﻦ ﺃﻗﺪﻡ ﻣﻈﺎﻫﺮ ﺍﻟﻨﺸﺎﻁ ﺍﻟﺒﺸﺮﻱ ﻭﻫﻲ ﺃﻭ‪‬ﻝ ﺻﻮﺭﺓ ﻟﻨﺸﺎﻁ ﺍﻹﻧﺴﺎﻥ ﰲ ﻃﻔﻮﻟﺘﻪ ﻓﻬﻲ‬
‫ﺻﺪﻯ ﻻﻧﻔﻌﺎﻻﺗﻪ ﻭﻣﻌﺮﺽ ﻟﺬﹼﺍﺗﻪ ﻭﻓﺮﺣﻪ‪ ،‬ﻭﻫﻲ ﺍﻧﻌﻜﺎﺱ ﻟﺼﻮﺭﺓ ﺍﳊﻴﺎﺓ‪ ،‬ﻓﻘﺪ ﺳﺎﻳﺮﺕ ﺍﻟﻌﺼﻮﺭ‬

‫)‪(1‬‬
‫ﺍﻟﺼ‪‬ﻔﹼﲑ = ﻧﻮﻉ ﻣﻦ ﺍﻷﻣﺮﺍﺽ ﺩﺍﺀ ﺍﻟﺼﻔﺮﺍﺀ ‪.‬‬
‫‪- 68 -‬‬
‫ﻭﻋﺎﺻﺮﺕ ﳐﺘﻠﻒ ﺍﻟﺸﻌﻮﺏ‪ ،‬ﺇﺫ ﱂ ﳜﻞ ﺗﺎﺭﻳﺦ ﺃﻣﺔ ﻣﻦ ﺍﻷﻣﻢ ﻣﻨﻬﺎ ﻓﻬﻲ ﺗﻌﺮﺽ ﳕﻮﺫﺟﺎ ﻣﻦ ﳕﺎﺫﺝ‬
‫) ‪(1‬‬
‫ﺍﳊﻴﺎﺓ ﰲ ﺍﻟﺒﻴﺌﺔ ﺑﻄﺒﺎﻋﻬﺎ ﻭﺗﻘﺎﻟﻴﺪﻫﺎ ﻭﻧﻈﻤﻬﺎ‪."....‬‬
‫ﻓﺎﻷﻟﻌﺎﺏ ﺍﻟﺸﻌﺒﻴﺔ ﺇﺫﻥ ﳕﻮﺫﺝ ﻟﻠﻨﺸﺎﻁ ﺍﻟﺒﺸﺮﻱ‪ ،‬ﺣﻴﺚ ﺗﺴﺎﻫﻢ ﰲ ﻧﻘﻞ ﺍﻟﺘ‪‬ﺮﺍﺙ ﺍﻟﺜﻘﺎﰲ‬
‫ﻟﻠﻤﺠﺘﻤﻊ ﺇﱃ ﺍﻟﻄﻔﻞ‪ ،‬ﻛﻤﺎ ﺗﻌﻠﹼﻤﻪ ﺑﻌﺾ ﺍﻟﻘﻴﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﱵ ﺗﺆﺩﻱ ﺇﱃ ﺗﻨﻤﻴﻪ ﺗﻔﺎﻋﻠﻪ ﺩﺍﺧﻞ‬
‫ﺍ‪‬ﺘﻤﻊ‪.‬ﻭﺍﻷﻟﻌﺎﺏ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻛﺜﲑﺓ ﻭﻣﺘﻨﻮﻋﺔ ﲣﺺ ﺍﻟﻜﺒﺎﺭ ﻭﺍﻟﺼﻐﺎﺭ ‪ ،‬ﺍﻟﻨﺴﺎﺀ‬
‫ﻭﺍﻟﺮﺟﺎﻝ ‪ ،‬ﻭﻫﻲ ﻗﺪ ﺗﻜﻮﻥ ﻣﺒﺘﻜﺮﺓ ﻣﻦ ﺃﻫﻞ ﺍﳌﻨﻄﻘﺔ ﺃﻭ ﻗﺪ ﺗﻜﻮﻥ ﺩﺧﻴﻠﺔ ﻣﻦ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍ‪‬ﺎﻭﺭﺓ ‪.‬‬
‫ﻭﻧﻈﺮ‪‬ﺍ ﻟﻜﺜﺮ‪‬ﺎ ‪ ،‬ﺍﺭﺗﺄﻳﻨﺎ ﺃﻥ ﻧﺘﻮﻗﻒ ﻋﻨﺪ ﺃﻫ‪‬ﻤﻬﺎ ﰲ ﺍﳌﻨﻄﻘﺔ ﻭﺍﻟﱵ ﺗﺘﻤﺜﻞ ﰲ ‪:‬‬
‫‪ ‬ﺍﻟﻜﺮﺓ ‪ :‬ﻭﻫﻲ ﻟﻌﺒﺔ ﲨﺎﻋﻴﺔ ﺗﺼﻨﻊ ﻓﻴﻬﺎ ﻛﺮﺓ ﻣﻦ ﺍﻟﻘﺶ)‪(2‬ﻋﻠﻰ ﻫﻴﺄﺓ ﺍﻟﻜﺮﺓ ﺍﳊﺎﻟﻴﺔ ﰒ ﲢﻔﺮ ﺣﻔﺮﺓ‬
‫ﲝﺠﻢ ﺍﻟﻜﺮﺓ ﺗﺘﻮﺳﻂ ﺍﳌﻠﻌﺐ‪ ،‬ﻋﻠﻰ ﺃﻥ ﻳﻘﺘﺴﻢ ﺍﻟﻼﻋﺒﻮﻥ ﺇﱃ ﻓﺮﻳﻘﲔ ﺑﺎﻟﺘﺴﺎﻭﻱ ﺗﻠﻌﺐ ﻫﺬﻩ ﺍﻟﻠﻌﺒﺔ‬
‫ﺑﻮﺍﺳﻄﺔ ﺍﻟﻌﺼﻲ‪ ،‬ﳏﺎﻭﻟﲔ ﺇﺩﺧﺎﳍﺎ ﰲ ﺍﳊﻔﺮﺓ‪ ،‬ﻭﻣﻦ ﺃﺩﺧﻠﻬﺎ ﻳﺴﺠ‪‬ﻞ ﻫﺪﻓﹰﺎ ‪.‬‬
‫ﻭﻳ‪‬ﺸﺘﺮﻁ ﺃﻻﹼ ﺗﻠﻤﺲ ﺍﻟﻜﺮﺓ ﻻ ﺑﺎﻷﻳﺪﻱ ﻭﻻ ﺑﺎﻷﺭﺟﻞ ﻭﻣﻦ ﻳﻔﻌﻞ ﺫﻟﻚ ﺗﺴﺠﻞ ﺿﺪﻩ ﳐﺎﻟﻔﺔ‬
‫ﻭﻫﻲ ﻟﻌﺒﺔ ﲣﺺ ﺍﻟﺬﻛﻮﺭ ﺻﻐﺎﺭ‪‬ﺍ ﺃﻭ ﻛﺒﺎﺭ‪‬ﺍ‪ ،‬ﻭﻣﻦ ﺍﳌﻼﺣﻆ ﺃﻥ ﻫﺬﻩ ﺍﻟﻠﻌﺒﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﻭﺳﺎﺋﻞ ﻣﺎﺩﻳﺔ‬
‫ﺑﺴﻴﻄﺔ ﻻ ﺗﺘﻄﻠﺐ ﺍﳌﺎﻝ ﺍﻟﻮﻓﲑ ﻻﻗﺘﻨﺎﺋﻬﺎ‪ ،‬ﺑﻞ ﺗﺘﻌﺎﻭﻥ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﻤﺎﺭﺳﺔ ﳍﺎ ﺑﺼﻨﻌﻬﺎ‪.‬‬
‫‪ ‬ﻟﻌﺒﺔ ﺍﳊﺒﻞ ‪ :‬ﻭﻫﻲ ﻟﻌﺒﺔ ﲣﺺ ﺍﻹﻧﺎﺙ ﺣﻴﺚ ﲤﺴﻚ ﺑﺎﳊﺒﻞ ﻓﺘﺎﺗﺎﻥ ﻭﺍﺣﺪﺓ ﻣﻦ ﺟﻬﺔ ﻭﺍﻷﺧﺮﻯ ﻣﻦ‬
‫ﺍﳉﻬﺔ ﺍﻟﺜﺎﻧﻴﺔ ﺃﻣﺎ ﺍﻟﺜﺎﻟﺜﺔ ﻓﺘﻜﻮﻥ ﰲ ﺍﻟﻮﺳﻂ‪ ،‬ﺗﻘﻮﻡ ﺍﻟﻔﺘﺎﺗﺎﻥ ﺑﺘﺤﺮﻳﻚ ﺍﳊﺒﻞ ﻭﺗﺪﻭﻳﺮﻩ ﺷﺮﻳﻄﺔ ﺃﻻ‬
‫ﺗﻠﻤﺴﻪ ﺍﻟﻔﺘﺎﺓ ﺍﻟﻮﺍﻗﻔﺔ ﻭﺳﻄﹰﺎ‪ ،‬ﺑﻞ ﳚﺐ ﻋﻠﻴﻬﺎ ﺍﻟﻨﻂ‪ ،‬ﻭﻫﺬﻩ ﺍﻟﻠﻌﺒﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﳊﺮﻛﺔ ﺍﻟﺴﺮﻳﻌﺔ‪،‬‬
‫ﻛﻤﺎ ﺃ‪‬ﺎ ﺗﺴﺎﻫﻢ ﰲ ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﻟﻴﺎﻗﺔ ﺍﻟﺒﺪﻥ ﻭﺭﺷﺎﻗﺘﻪ ‪.‬‬
‫‪ ‬ﻛﹶﺎﺯ‪ ‬ﻭﻛﹸﻮ‪‬ﺭﻓﹶﺎﺯ‪ : ‬ﻭﺗﻠﻌﺐ ﻫﺬﻩ ﺍﻟﻠﻌﺒﺔ ﺑﺄﻛﺜﺮ ﻣﻦ ﻻﻋﺐ ﻋﻠﻰ ﺃﻥ ﻻ ﻳﺘﻌﺪ‪‬ﻯ ﻋﺪﺩ ﺍﻟﻼﻋﺒﲔ ﺍﻷﲰﺎﺀ‬
‫ﺍﻟﺘﺎﻟﻴﺔ‪ :‬ﻛﺎﺯ‪ ،‬ﻛﹸﻮﺭﻓﺎﺯ‪ ،‬ﻋﺮﻕ ﺍﳉﻨﺎﻳﺰ‪ ،‬ﺍﻟﻔﻨ‪‬ﺎﻗﺔ‪ ،‬ﺍﻟﺮ ‪‬ﺩﻑ‪ ،‬ﰒ ﻳ‪‬ﻈﻬﺮ ﻛﻞﹼ ﻻﻋﺐ ﻋﺪﺩ ﺍﻷﺻﺎﺑﻊ ﻣﻊ‬
‫ﺫﻛﺮﻩ ﻟﻼﺳﻢ ﺍﻟﺬﻱ ﳜﺘﺎﺭﻩ ﻣﻦ ﺍﻷﲰﺎﺀ ﺍﳌﺬﻛﻮﺭﺓ ‪.‬‬
‫ﻭﻣﻦ ﺗﻮﻗﻒ ﺍﲰﻪ ﻋﻨﺪ ﺍﻷﺻﺒﻊ ﺍﻷﺧﲑ ﻓﺈﻧﻪ ﻳﻜﻮﻥ ﻫﻮ ﺍﻟﺮ‪‬ﺍﺑﺢ‪ ،‬ﻭﳜﺘﺎﺭ ﺃﺣﺪ‪‬ﺍ ﻟﻴﻀﺮﺏ ﺭﺃﺳﻪ‬
‫ﺑﺄﺣﺪ ﺃﺻﺎﺑﻊ ﺍﻟﻴﺪ‪ ،‬ﻭﳛﺎﻭﻝ ﺍﻟﺬﻱ ﺿ‪‬ﺮﺏ ﺭﺃﺳﻪ ﻣﻌﺮﻓﺔ ﺍﻷﺻﺒﻊ ﺍﻟﱵ ﺿﺮﺑﺘﻪ‪ ،‬ﻭﺇﺫﺍ ﲤﻜﻦ ﻣﻦ ﺫﻟﻚ‬
‫ﺗ‪‬ﻌﺎﺩ ﺍﻟﻠﻌﺒﺔ ﻣﻦ ﺟﺪﻳﺪ ﻭﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ‪.‬‬
‫)‪(1‬‬
‫ﻧﺎﺩﻳﺎ ﺍﻟﺪﻣﺮﺩﺍﺱ‪ ،‬ﻋﻼﺗﻮﻓﻴﻖ ‪ :‬ﻣﺪﺧﻞ ﺇﱃ ﻋﻠﻢ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪،‬ﺹ‪.305‬‬
‫)‪(2‬‬
‫ﺍﻟﻘﺶ= ﺍﻟﺜﻴﺎﺏ ﺍﻟﺒﺎﻟﻴﺔ ﺍﻟﻘﺪﳝﺔ ‪.‬‬
‫‪- 69 -‬‬
‫ﻭﻫﻲ ﻟﻌﺒﺔ ﺗﺸﻤﻞ ﲨﻴﻊ ﺍﻷﻓﺮﺍﺩ ﻛﺒﺎﺭ‪‬ﺍ ﻭﺻﻐﺎﺭ‪‬ﺍ ﻭﲤﺎﺭﺱ ﻋﺎﺩﺓ ﰲ ﺍﻟﻠﻴﻞ ﻻﺟﺘﻤﺎﻉ ﻛﻞ ﺃﻓﺮﺍﺩ‬
‫ﺍﻟﻌﺎﺋﻠﺔ‪ ،‬ﻭﺫﻟﻚ ﻟﺴﺪ‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ،‬ﻭﲢﻘﻴﻖ ﺃﻛﱪ ﻗﺪﺭ ﳑﻜﻦ ﻣﻦ ﺍﳌﺘﻌﺔ ﻭﺍﻟﺘﺴﻠﻴﺔ‪ ،‬ﺧﺼﻮﺻﺎ ﺃﻥ ﻫﺬﻩ ﺍﻟﻠﻌﺒﺔ‬
‫ﺑﺴﻴﻄﺔ‪ ،‬ﻭﻭﺳﺎﺋﻠﻬﺎ ﻣﺘﻮﻓﺮﺓ ﰲ ﺟﺴﻢ ﺍﻹﻧﺴﺎﻥ‪.‬‬
‫‪ ‬ﻟﻌﺒﺔ ﺍﳊﺠﺎﺭﺓ ‪ :‬ﻭﻫﻲ ﻟﻌﺒﺔ ﲡﻤﻊ ﺑﲔ ﺍﺛﻨﲔ‪ ،‬ﻛﻞﹼ ﻭﺍﺣﺪ ﻳﻀﻊ ﺃﻣﺎﻣﻪ ﺛﻼﺙ ﺣﺼﻴﺎﺕ ﻓﻴﺘﻘﺎﺑﻼﻥ‪ ،‬ﺇﺫ‬
‫ﻳﻘﻮﻡ ﺍﻟﻼﻋﺐ ﺍﻷﻭﻝ ﺑﺎﺳﺘﻌﻤﺎﻝ ﺣﺼﻴﺎﺗﻪ ﺍﻟﺜﻼﺛﺔ ﻭﺑﻮﺍﺳﻄﺔ ﺍﻷﺻﺒﻊ ﺍﻟﻮﺳﻄﻰ ﻳﻀﺮﺏ ﺣﺼﻴﺎﺕ‬
‫ﺍﻟﻼﻋﺐ ﺍﻟﺜﺎﱐ ﲝﻴﺚ ﻛﻞ ﺣﺼﻰ‪ ،‬ﺗﻀﺮﺏ ﺍﳊﺼﻰ ﺍﻟﱵ ﺗﻘﺎﺑﻠﻬﺎ ﻓﺈﻥ ﺃﺧﻔﻖ ﺗﻨﻘﻞ ﺍﻟﻠﻌﺒﺔ ﺇﱃ‬
‫ﺍﻟﻄﺮﻕ ﺍﻟﺜﺎﱐ ‪.‬‬
‫‪ ‬ﻟﻌﺒﺔ ﺍﻷﻟﻐﺎﺯ‪ :‬ﻭﻫﻲ ﻟﻌﺒﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﳌﻌﺎﺭﻑ ﺍﻟﺸﺨﺼﻴﺔ ﻟﻼﻧﺴﺎﻥ ‪ ،‬ﻭﻛﺬﺍ ﲡﺮﺑﺘﻪ ﰲ ﺍﳊﻴﺎﺓ‪،‬‬
‫ﻭﺗ‪‬ﻠﻌﺐ ﻋﺎﺩﺓ ﰲ ﺍﻟﻠﻴﻞ ﻭﻗﺖ ﺍﺟﺘﻤﺎﻉ ﺍﻟﻌﺎﺋﻠﺔ‪،‬ﺃﻭ ﺇﺫﺍ ﺣﻀﺮ ﺿﻴﻮﻑ ﺇﱃ ﺍﳌﻨﺰﻝ ﻓﺘﻄﺮﺡ ﻫﺬﻩ‬
‫ﺍﻷﻟﻐﺎﺯ ﻟﻠﺘﺴﻠﻴﺔ ﻭﺍﻟﺘﺜﻘﻴﻒ ﺃﻳﻀﺎ ‪.‬‬
‫ﻭﻛﺜﲑ‪‬ﺍ ﻣﺎ ﺗﺘﺨﻠﻠﻬﺎ ﺑﻌﺾ ﺍﻷﺣﺠﻴﺎﺕ ﺃﻭ ﺍﻟﻨﻜﺖ ﺃﻭ ﺍﳊﻜﺎﻳﺎﺕ ﺃﻭ ﺗﻀﺮﺏ ﺑﻌﺾ ﺍﻷﻣﺜﺎﻝ‬
‫) ‪(1‬‬
‫ﻭﺍﻟﺒﻮﻗﺎﻻﺕ‪.‬‬
‫ﻭﺇﺫﺍ ﻣﺎ ﻧﻈﺮﻧﺎ ﺇﱃ ﻫﺬﻩ ﺍﻟﻠﻌﺒﺔ‪ ،‬ﳒﺪ ﺃﻧ‪‬ﻬﺎ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﺨﺼﻴﺔ ﻟﺪﻯ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ‬
‫ﻭﻣﺪﻯ ﻧﺒﺎﻫﺘﻪ ﰲ ﺣﻞﹼ ﺍﻷﻟﻐﺎﺯ ‪ ،‬ﻭﻫﻲ ﺑﺬﻟﻚ ﺗ‪‬ﺴﻠ‪ّ‬ﻲ ﺍﻹﻧﺴﺎﻥ ﻭﺗﻌﻤﻞ ﻋﻠﻰ ﺗﺜﻘﻴﻔﻪ ﰲ ﺁﻥ ﻭﺍﺣﺪ ‪.‬‬
‫) ‪(2‬‬
‫‪:‬ﻫﻲ ﻟﻌﺒﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﳊﺠﺎﺭﺓ ﺍﳌﺘﻮﺳﻄﺔ ﺍﳊﺠﻢ ﺑﻘﺪﺭ ﻛﻒ ﺍﻟﻴﺪ‪،‬ﺗﺼﻔﻒ ﻫﺬﻩ‬ ‫‪ ‬ﻟﻌﺒﺔ ﺍﻟﻘﹶﺎﺏ‬
‫ﺍﳊﺠﺎﺭﺓ ﻋﻠﻰ ﺷﻜﻞ ﻫﺮﻡ ﻟﻪ ﻗﺎﻋﺪﺓ ﻭﻗﻤﺔ‪ ،‬ﺣﻴﺚ ﻳﺘﻮﱃ ﻋﻤﻠﻴﺔ ﺍﻟﺘﺴﻮﻳﺔ ﻫﺬﻩ ﺷﺨﺼﺎﻥ ﻳﺘﻤﻴ‪‬ﺰﺍﻥ‬
‫ﺑﺎﳋﻔﺔ ﻭﺍﻟﺴﺮﻋﺔ ﻭﻋﻠﻰ ﻣﺴﺎﻓﺔ ﺑﻌﻴﺪﺓ ﻣﻦ ﺍﳍﺮﻡ ﻳﻘﻮﻡ ﺍﳌﺘﺴﺎﺑﻖ ﲝﻤﻞ ﺣﺠﺮﺓ ﰲ ﻳﺪﻩ ﻭﻳﺼﻮ‪‬ﺎ‬
‫ﻟﻠﻘﺎﺏ‪ ،‬ﺷﺮﻳﻄﺔ ﺃﻥ ﻳﻮﻗﻌﻪ ﻛﻠﹼﻪ ‪ .‬ﻓﺈﻥ ﺍﺧﻔﻖ ﻳﺘﻮﱃ ﺍﳌﻬﻤﺔ ﻻﻋﺐ ﺁﺧﺮ ﻭﻫﻜﺬﺍ ﺗﺘﻮﺍﺻﻞ ﺍﻟﻠﻌﺒﺔ ﰲ‬
‫ﺟﻮ‪ ‬ﻣﻦ ﺍﳌﺘﻌﺔ ﻭﺍﻟﻠﻬﻮ ‪.‬‬
‫ﺇﻥﹼ ﻫﺬﻩ ﺍﻷﻟﻌﺎﺏ ﺍﻟﺸﻌﺒﻴﺔ ﻣﺎ ﻫﻲ ﺇﻻ ﻋ‪‬ﻴﻨﺔ ﻗﻠﻴﻠﺔ ﻣﻦ ﻋﺪﺩ ﻛﺜﲑ ﻻ ﻳ‪‬ﺤﺼﻰ ﻣﻦ ﺍﻷﻟﻌﺎﺏ ﺍﻟﱵ‬
‫ﲤﻴ‪‬ﺰ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﺍﻟﱵ ﺗﻌﻜﺲ ﻣﻈﺎﻫﺮ ﺍﻟﻨﺸﺎﻁ ﺍﻹﻧﺴﺎﱐ ﻓﻴﻬﺎ‪.‬‬

‫)‪(1‬‬
‫ﺍﻟﺒﻮﻗﺎﻻﺕ‪ :‬ﻟﻌﺒﺔ ﺷﻌﺒﻴﺔ ﺗﺸﺘﻬﺮ ‪‬ﺎ ﺍﻟﻌﺎﺻﻤﺔ ﻭﺿﻮﺍﺣﻴﻬﺎ‪ ،‬ﺗﱪﺯ ﺑﺸﻜﻞ ﻛﺒﲑ ﰲ ﻟﻴﺎﱄ ﺭﻣﻀﺎﻥ ﻭﺗﺴﺘﻌﻤﻞ ﻟﻠﺘﺴﻠﻴﺔ ‪.‬‬
‫)‪(2‬‬
‫ﺍﻟﻘﺎﺏ‪:‬ﻣﺎ ﻳﺼﻔﻒ ﻣﻦ ﺍﳊﺠﺎﺭﺓ ﻋﻠﻰ ﻫﻴﺌﺔ ﻫﺮﻡ ‪.‬‬
‫‪- 70 -‬‬
‫ﻭﺭﻏﻢ ﺑﺴﺎﻃﺔ ﻫﺬﻩ ﺍﻷﻟﻌﺎﺏ ﺇﻻﹼ ﺃ‪‬ﺎ ﺳﺎﳘﺖ ﻭﻟﻮ ﺑﺎﻟﻘﺴﻂ ﺍﻟﻘﻠﻴﻞ ﰲ ﺗﻜﻮﻳﻦ ﺍﻟﺸﺨﺼ‪‬ﻴﺔ‬
‫ﺍﳊﺼﻴﻨﺔ ﺍﻟﻨﺎﺿﺠﺔ ﻟﻠﺸﺒﺎﺏ‪ ،‬ﻛﻤﺎ ﺃﺗﺎﺣﺖ ﻟﻪ ﺍﻟﻔﺮﺻﺔ ﰲ ﲨﻴﻊ ﻣﺮﺍﺣﻞ ﻋﻤﺮﻩ ﻟﺘﻨﻤﻴﺔ ﺍﺳﺘﻌﺪﺍﺩﺍﺗﻪ‬
‫ﻭﻗﺪﺭﺍﺗﻪ ﺍﻟﺒﺪﻧﻴﺔ ﻭﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﻌﻘﻠﻴﺔ‪ ،‬ﺑﻞ ﻭﺇﺩﻣﺎﺟﻪ ﰲ ﺍ‪‬ﺘﻤﻊ‪.‬‬
‫ﺏ‪ 6-‬ﺍﳊﺮﻑ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ‪:‬‬
‫ﺗﺸﺘﻬﺮ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﲟﺠﻤﻮﻋﺔ ﻣﻦ ﺍﳊﺮﻑ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﻧﻠﺨ‪‬ﺼﻬﺎ ﻓﻴﻤﺎ ﻳﻠﻲ ‪:‬‬
‫‪ ‬ﺻﻨﺎﻋﺔ ﺍﻷﻭﺍﱐ ﺍﻟﻔﺨﺎﺭﻳﺔ ‪ :‬ﺭﻏﻢ ﺃﻥﹼ ﻫﺬﻩ ﺍﳊﺮﻓﺔ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﻣﺎ ﺗﺰﺍﻝ ﻣﺸﺘﻬﺮﺓ ﰲ ﺍﻷﻭﺳﺎﻁ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺇﻻ ﺃﻥ ﻓﻜﺮﺓ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻷﻭﺍﱐ ﺍﻟﻔﺨﺎﺭﻳﺔ ﺑﺪﺃﺕ ﺗﻘﻞﹼ ﻓﻘﺪ ﻛﺎﻧﺖ‬
‫ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﻫﺬﻩ ﺍﳌﺎﺩﺓ ﺑﺸﻜﻞ ﻛﺒﲑ ﺧﺎﺻﺔ ﰲ ﺍﺳﺘﻌﻤﺎﻻ‪‬ﺎ ﺍﻟﻴﻮﻣﻴﺔ ﺳﻮﺍﺀ ﻣﺎ ﺗﻌﻠﹼﻖ‬
‫ﻣﻨﻬﺎ ﺑﻮﺳﺎﺋﻞ ﺍﻷﻛﻞ ﺃﻭ ﺍﻟﺘﺨﺰﻳﻦ ‪.‬‬
‫ﻭﺗﻘﺘﺼﺮ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ ﺃﻱ ﺻﻨﺎﻋﺔ ﺍﻷﻭﺍﱐ ﺍﻟﻔﺨﺎﺭﻳﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻋﻠﻰ ﺍﻟﻨﺴﺎﺀ ﺑﻜﺜﺮﺓ ﺩﻭﻥ‬
‫ﺍﻟﺮﺟﺎﻝ‪.‬‬
‫ﺣﻴﺚ ﲡﺘﻤﻊ ﺍﻟﻨﺴﻮﺓ ﰲ ﻳﻮﻡ ﻣﺸﺮﻕ ﺻﺎﻑ‪ ‬ﻭﻳﻘﺼﺪﻥ ﺍﳉﺒﻞ ﳉﻠﺐ ﻣﺎﺩﺓ ﺍﻟﺼﻠﺼﺎﻝ ﻭﻫﻲ ﻣﺎﺩﺓ‬
‫ﺃﺳﺎﺳﻴﺔ ﳍﺬﻩ ﺍﳊﺮﻓﺔ‪ ،‬ﺗ‪‬ﻌﺠﻦ ﺑﺎﳌﺎﺀ‪ ،‬ﰒﹼ ﺗ‪‬ﺸﻜﻞ ﻣﻨﻬﺎ ﺃﺷﻴﺎﺀ ﻋﺪﻳﺪﺓ ﻛﺎﳌﺰﻫﺮﻳﺎﺕ ﺍﻟﱵ ﺗﺴﺘﻌﻤﻞ ﻟﺘﺰﻳﲔ‬
‫) ‪(2‬‬
‫ﻭﺍﻟﻜﺴﻜﺎﺱ ﺇﱃ ﺍﻟﻄﺎﺟﲔ‬ ‫ﺍﻟﺒﻴﻮﺕ‪ ،‬ﺃﻭ ﺃﺩﻭﺍﺕ ﺍﳌﻄﺒﺦ ﻣﻦ ﺍﳌﺜﺮﺩ )‪(1‬ﺇﱃ ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﻟﺒ‪‬ﺮﻣﺔ‬
‫ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﺻﻨﺎﻋﺔ ﺍﻷﻭﺍﱐ ﺍﻟﻔﺨﺎﺭﻳﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻋﺮﻓﺖ ﺭﻭﺍﺟ‪‬ﺎ ﻛﺒﲑ‪‬ﺍ ﰲ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺴﺎﺑﻘﺔ ﻷﻥ‬
‫ﺍﻋﺘﻤﺎﺩ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﻫﺬﻩ ﺍﳌﺎﺩﺓ ﻛﺎﻥ ﻛﺒﲑﺍ ﺧﺎﺻﺔ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺄﻭﺍﱐ ﺍﳌﻄﺒﺦ ﻟﻜﻨﻬﺎ ﺍﻟﻴﻮﻡ‬
‫ﻋﺮﻓﺖ ﺗﺮﺍﺟﻌﺎ ‪,‬ﻷ‪‬ﺎ ﻋ‪‬ﻮﺿﺖ ﲟﻮﺍﺩ ﺃﺧﺮﻯ ﺩﺧﻠﺖ ﺍﻟﺴﻮﻕ ﺍﳌﺴﻴﻠﻴﺔ ﻛﺎﻟﺰﺟﺎﺝ ﻭﺍﳊﺪﻳﺪ ﻭﺍﻟﺒﻼﺳﺘﻴﻚ‬
‫ﻭﻏﲑﻫﺎ‪....‬‬
‫ﻭﻟﻜﻦ ﺭﻏﻢ ﺟﻮﺩﺓ ﺍﻷﻭﺍﱐ ﺍﻟﻌﺼﺮﻳﺔ ﻭ‪‬ﺎﺋﻬﺎ‪ ،‬ﻳﺒﻘﻰ ﺍﳉﻤﺎﻝ ﺍﻟﺘﻘﻠﻴﺪﻱ ﺍﻟﺬﻱ ﺗﺼﻨﻌﻪ ﻭﺗﺘﻔﻨﻦ ﻓﻴﻪ‬
‫ﺍﻷﻳﺎﺩﻱ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻮ ﺍﻷﺣﺴﻦ‪ ،‬ﻓﺎﳌﻄﻠﻮﺏ ﺇﺫﺍ ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﻫﺬﻩ ﺍﳊﺮﻓﺔ ﻭﲪﺎﻳﺘﻬﺎ ﻣﻦ ﺍﻻﻧﺪﺛﺎﺭ‪.‬‬

‫)‪(1‬‬
‫ﺍﳌﹶﺜﹾﺮ‪‬ﺩ = ﺻﺤﻦ ﻛﺒﲑ ﻣﻦ ﺍﻟﻔﺨﺎﺭ ﺑﻪ ﺭﺳﻮﻣﺎﺕ ﻭﻟﻪ ﻗﺎﻋﺪﺓ ﳚﻠﺲ ﻋﻠﻴﻬﺎ ﺗﺸﺘﻬﺮ ﺑﻪ ﺍﳌﻨﻄﻘﺔ ‪.‬‬
‫)‪(2‬‬
‫ﺍﻟﺒ‪‬ﺮﻣﺔ = ﻭﻋﺎﺀ ﻛﺒﲑ ﻳﺴﺘﻌﻤﻞ ﻟﺼﻨﻊ ﺍﳊﺴﺎﺀ‪ ،‬ﻛﺎﻥ ﻗﺪﳝﺎ ﻳﺼﻨﻊ ﻣﻦ ﺍﻟﻔﺨﺎﺭ ‪.‬‬
‫‪- 71 -‬‬
‫‪ ‬ﺍﻟﺼﻨﺎﻋﺔ ﺍﻟﻨﺴﻴﺠﻴﺔ ‪ :‬ﺑﻌﺪ ﺃﻥ ﻣﺎﺭﺱ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﻟﺰﺭﺍﻋﺔ‪ ،‬ﻭﻣﺎ ﺃﻧﺘﺠﺘﻪ ﻣﻦ ﺧﲑﺍﺕ‪ ،‬ﺳﺎﺭﻉ‬
‫ﺇﱃ ﺍﲣﺎﺫ ﺍﳌﺴﻜﻦ ﺍﻟﺬﻱ ﻳﻠﻴﻖ ﺑﻪ‪ ،‬ﰒ ﺗﻄﻠﹼﻊ ﺇﱃ ﺗﺮﺑﻴﺔ ﺍﻷﻏﻨﺎﻡ ﻭﺍﳌﺎﻋﺰ ﳌﺎ ﺗﺪﺭ‪‬ﻩ ﻣﻦ ﺃﻟﺒﺎﻥ ﻭﳊﻮﻡ‪،‬‬
‫ﺣﱴ ﳛﺎﻓﻆ ﻋﻠﻰ ﺑﻘﺎﺋﻪ‪ ،‬ﻭﺍﺳﺘﻤﺮﺍﺭ ﺣﻴﺎﺗﻪ‪ ،‬ﻛﺬﻟﻚ ﻣﺎ ﺗﻮﻓﺮﻩ ﻫﺬﻩ ﺍﻷﻏﻨﺎﻡ ﻣﻦ ﻣﺎﺩﺓ ﺃﻭﻟﻴﺔ ﻣﻦ‬
‫ﺻﻮﻑ ﻭﺷﻌﺮ" ﻭﺍﻋﻠﻢ ﺃﻥ ﺍﳌﻌﺘﺪﻟﲔ ﻣﻦ ﺍﻟﺒﺸﺮ ﰲ ﻣﻌﲎ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻻ ﺑﺪ ﳍﻢ ﻣﻦ ﺍﻟﻔﻜﺮ ﰲ‬
‫) ‪(1‬‬
‫ﺍﻟﺪﻑﺀ ﻛﺎﻟﻔﻜﺮ ﰲ ﺍﻟﺴﻜﻦ ﻭﳛﺼ‪‬ﻞ ﺍﻟﺪﻑﺀ ﰲ ﺍﺷﺘﻤﺎﻝ ﺍﳌﻨﺴﻮﺝ ﻭﺍﳊﻴﺎﻛﺔ "‬
‫ﻭﲤﺎﺭﺱ ﺍﻟﺼﻨﺎﻋﺔ ﺍﻟﻨﺴﻴﺠﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺑﻮﺳﺎﺋﻞ ﺗﻘﻠﻴﺪﻳﺔ ﺑﺴﻴﻄﺔ‪ ،‬ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ‬
‫ﺃﻋﻤﺪﺓ ﻣﻦ ﺍﻟﻘﺼﺐ ﻭﺃﺧﺮﻯ ﻣﻦ ﺍﳋﺸﺐ ﺍﻟﺼﻠﺐ‪ ،‬ﳐﺘﻠﻔﺔ ﺍﻟﺴ‪‬ﻤﻚ ﺣﺴﺐ ﻣﻮﻗﻌﻬﺎ ﰲ ﺍﳌﻨﺴﺞ‬
‫ﻭﺗﻘﺘﺼﺮ ﻫﺬﻩ ﺍﻟﺼﻨﺎﻋﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﻋﻠﻰ ﺍﻟﻨﺴﺎﺀ ﻓﻘﻂ ﺩﻭﻥ ﺍﻟﺮﺟﺎﻝ‪.‬‬
‫ﻭﻗﺪ ﻛﺎﻥ ﻳﻔﻮﻕ ﻃﻮﻝ ﺍﳌﻨﺴﺞ ﺍﻟﻮﺍﺣﺪ ﺍﳋﻤﺴﺔ ﺃﻣﺘﺎﺭ‪ ،‬ﻭﺃﺛﻨﺎﺀ ﻓﺘﺮﺍﺕ ﺍﻟﻌﻤﻞ ﻛﺎﻧﺖ ﺍﻟﻨ‪‬ﺴﻮﺓ ﲢﻜﻲ‬
‫ﺍﳊﻜﺎﻳﺎﺕ ﻭﺗﻀﺮﺑﻦ ﺍﻷﻣﺜﺎﻝ ﰲ ﺟﻠﺴﺎ‪‬ﻦ ﺍﻟﻄﻮﺍﻝ ﻭﺭﺍﺀ ﺍﳌﻨﺴﺞ ‪.‬‬
‫ﻣﻊ ﺍﻟﻌﻠﻢ ﺃﻥ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ ﺗﺴﺘﻤﺮ‪ ‬ﻟﻴﻼ ﻭ‪‬ﺎﺭ‪‬ﺍ ﺗﺘﺨﻠﻠﻬﺎ ﺍﻷﻏﺎﱐ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﻤﻴﻠﺔ ﺍﻟﱵ ﺗﺪﻓﻊ ﺍﳌﻠﻞ‬
‫ﻭﺍﻟﺘﻌﺐ‪ ،‬ﻭﺗﺒﻌﺚ ﻋﻠﻰ ﺍﻟﻨﺸﺎﻁ ﻭﺍﳌﻮﺍﺿﺒﺔ‬
‫) ‪(2‬‬
‫ﻭﻣﻦ ﺍﻷﻏﺎﱐ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺸﺎﺋﻌﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﺃﻏﻨﻴﺔ‪:‬‬
‫) ‪(4‬‬ ‫) ‪(3‬‬
‫ﻳ‪‬ﺎﻃﹶﻴ‪‬ﺘ‪‬ﻲ‬ ‫ﺃﹶﻋ‪‬ﻼﹶﻱ‪‬‬
‫ﻛ‪‬ﻴﻤ‪‬ﺎ )‪ (5‬ﻳ‪‬ﻌ‪‬ﻼﹶ ﺳ‪‬ﻮﺭ‪ ‬ﺍﻟﻨ‪‬ﱯ‬
‫) ‪(6‬‬
‫ﺍﻟﹶﺒ‪‬ﺮﻛﹶﺔ ﰲ ﻳ‪‬ﺪ‪‬ﻳ‪‬ﺘ‪‬ﻲ‬
‫ﻭ‪‬ﺍﻟﺼ‪‬ﻼﹶﺓﹾ ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﺤ‪‬ﻤ‪‬ﺪ‪‬‬
‫) ‪(7‬‬
‫ﻭﺗ‪‬ﺮﺩ‪‬ﺩ ﺍﻟﻨﺴﻮﺓ ﺃﻳﻀﺎ ‪:‬‬
‫ﺣ‪‬ﺮ‪‬ﺻﻲ )‪ (1‬ﻳ‪‬ﺎ ﺍﻟﺘ‪‬ﻮ‪‬ﺍﺯ‪‬ﺓ‬

‫)‪(1‬‬
‫ﺍﺑﻦ ﺧﻠﺪﻭﻥ ‪ :‬ﺗﺎﺭﻳﺦ ﺍﺑﻦ ﺧﻠﺪﻭﻥ‪،‬ﺝ‪،2‬ﺹ‪.733‬‬
‫)‪(2‬‬
‫ﺍﻟﺮﺍﻭﻱ‪ :‬ﺏ‪،‬ﻋﺎﺋﺸﺔ‪ ،‬ﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪1945‬ﻡ ‪ ،‬ﺭﺑﺔ ﺑﻴﺖ‪ ،‬ﺑﺮﻫﻮﻡ‪.‬‬
‫)‪(3‬‬
‫ﺃﻋﻼﻱ‪ :‬ﺍﺭﺗﻔﻌﻲ ‪.‬‬
‫)‪(4‬‬
‫ﻃﹶﻴ‪‬ﺘ‪‬ﻲ ‪ :‬ﻣﻦ ﺍﻟﻄﻴ‪‬ﺔ ﻭﻫﻲ ﻣﻘﺪﺍﺭ ﻣﺎ ﺗﻨﺴﺠﻪ ﺍﳌﺮﺃﺓ ﻭﺑﻘﺪﺭ ﺑﻄﻮﻝ ﺍﻟﻴﺪ ﻣﻦ ﺍﻷﺻﺎﺑﻊ ﻭﺣﱴ ﺍﳌﺮﻓﻖ ‪.‬‬
‫)‪(5‬‬
‫ﻛﻴﻤﺎ‪:‬ﻣﺜﻠﻤﺎ ‪.‬‬
‫)‪(6‬‬
‫ﻳ‪‬ﺪ‪‬ﻳ‪‬ﱵ ‪ :‬ﺗﺼﻐﲑ ﻟﻜﻠﻤﺔ ﺍﻟﻴﺪ ‪.‬‬
‫)‪(7‬‬
‫ﺍﻟﺮﺍﻭﻱ ﺍﻟﺴﺎﺑﻖ ‪.‬‬
‫‪- 72 -‬‬
 ‫) ‪(3‬‬
‫ﺑ‪‬ﺎﻩ)‪ (2‬ﻧﺬﹾﺑ‪‬ﺤ‪‬ﻠﹶﻚ‪ ‬ﺍﳉﺎﺟ‪‬ﺔ‬
‫ﻣ‪‬ﺘ‪‬ﺨ‪‬ﺎ‪‬ﻓﻴﺶ‪ ‬ﻳ‪‬ﺎﻟﹾﺠ‪‬ﺎﺟﺔ‬
‫ﺭ‪‬ﺍﻧﹺﻲ ﻏ‪‬ﲑ‪ ‬ﻧ‪‬ﺤ‪‬ﺮ‪‬ﺹ‪ ‬ﻓ‪‬ﻲ ﺍﻟﺘ‪‬ﻮ‪‬ﺍﺯ‪‬ﺓ ‪.‬‬
‫ﺇﻥﹼ ﻫﺬﻩ ﺍﻷﻏﻨﻴﺔ ﺗﻌﻜﺲ ﺟﺎﻧﺒﺎ ﻣﻦ ﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻟﱵ ﲤﺎﺭﺳﻬﺎ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻨ‪‬ﺴﻮﻳﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪،‬‬
‫ﺃﺛﻨﺎﺀ ﻗﻴﺎﻣﻬﺎ ﺑﻌﻤﻠﻴﺔ ﺍﻟﻨ‪‬ﺴﻴﺞ‪ ،‬ﻭﺍﻟﱵ ﺗﺮﺗﻜﺰ ﺃﺳﺎﺳ‪‬ﺎ ﻋﻠﻰ ﻋﺎﺩﺓ ﺍﻟﺘﻮﻳﺰﺓ‬
‫ﻓﻠﻔﻈﺔ ﺍﻟﺘ‪‬ﻮﺍﺯﺓ ﻣﺜﻼ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﺍﻟﺘﻮﻳﺰﺓ‪ ،‬ﻭﻫﻲ ﻟﻔﻈﺔ ﺗﻄﻠﻖ ﰲ ﺍﳌﻨﻄﻘﺔ ﻋﻠﻰ ﺍﳌﺮﺃﺓ ﺍﳌﺴﺎﳘﺔ ﰲ‬
‫ﻋﻤﻠﻴﺔ ﺍﻟﺘﻮﻳﺰﺓ‪ ،‬ﺣﻴﺚ ﺗﻄﻠﺐ ﻣﻨﻬﺎ ﺻﺎﺣﺒﺔ ﺍﳌﻨﺴﺞ ﺑﺄﻥ ﺗﺴﺮﻉ ﰲ ﻋﻤﻠﻬﺎ ﺣﱴ ﺗﻜﺎﻓﺌﻬﺎ ﺑﻐﺬﺍﺀ ﻟﺬﻳﺬ‪،‬‬
‫ﺗﺬﺑﺢ ﻓﻴﻪ ﺩﺟﺎﺟﺘﻬﺎ ﺍﻟﻮﺣﻴﺪﺓ‪.‬‬
‫ﰒ ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﲢﺎﻭﻝ ﺻﺎﺣﺒﺔ ﺍﳌﻨﺴﺞ ﺇﺭﺿﺎﺀ ﺩﺟﺎﺟﺘﻬﺎ ﺣﻴﺚ ﲣﺎﻃﺒﻬﺎ ﺑﻠﻄﻒ ﻗﺎﺋﻠﺔ ﳍﺎ‪:‬‬
‫ﻻ ﲣﺎﰲ ﻳﺎﺩﺟﺎﺟﱵ ﺳﻮﻑ ﻟﻦ ﺃﺫﲝﻚ ﻷﻥﹼ ﻣﺎ ﻗﻠﺘﻪ ﻟﻴﺲ ﺣﻘﻴﻘﻴﺎ ﺑﻞ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﺗ‪‬ﺴﺮﻉ ﺍﻟﺘﻮ‪‬ﺍﺯﺓ ﰲ‬
‫ﻋﻤﻠﻬﺎ ‪.‬‬
‫ﻭﻧﺸﲑ ﻫﻨﺎ ﺇﱃ ﺃﻥﹼ ﺃﺷﻬﺮ ﺍﳌﻨﺘﻮﺟﺎﺕ ﺍﻟﺼﻮﻓﻴﺔ ﺍﳌﻌﺮﻭﻓﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻫﻲ ﺍﻟﱪﻧﻮﺱ‬
‫ﻭﺍﻟﻘﺸﺎﺑﻴﺔ ﻭﻫﻲ ﺃﻟﺒﺴﺔ ﺷﺘﻮﻳﺔ‬
‫ﺃﻣﺎ ﻋﻦ ﺍﻷﻏﻄﻴﺔ ﻓﻨﺠﺪ ﺍﳊﻮ‪‬ﱄ ﻭﺍﳌﻠﺤﻔﺔ ﻭﺍﻟﻘﹸﻨ‪‬ﺎﺳﺔ )‪ ،(4‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺃﻧﻮﺍﻉ ﻛﺜﲑﺓ ﻣﻦ ﺍﻷﻓﺮﺷﺔ‬
‫ﻛﺎﻟﺰﺭﺑﻴﺔ ﺍﳌﺮﻗﹸﻮﻣﺔ)‪(5‬ﻭﺑﻮﻛﺘﺎﻧﺔ)‪(6‬ﺍﻟﺬﻱ ﻳﻜﻮﻥ ﻋﻠﻰ ﻧﻮﻋﲔ ﻟﹶﻤ‪‬ﺴ‪‬ﺮ‪‬ﺡ ﻭﺍﻟﻌ‪‬ﻘﹾﺪ‪‬ﺓ ﻭﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻨﺴﻰ‬
‫ﺍﻟﺘﻠﹼﻴﺲ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻨﺴﺞ ﺑﺸﻌﺮ ﺍﳌﺎﻋﺰ ﻭﳜﺎﻁ ﻋﻠﻰ ﺷﻜﻞ ﻛﻴﺲ ﻟﻴﺤﻔﻆ ﻓﻴﻪ ﺍﻟﻘﻤﺢ ﻭﺍﳊﺒﻮﺏ‬
‫ﺍﳌﺨﺘﻠﻔﺔ ‪.‬‬
‫ﻭﻫﻨﺎﻙ ﺣﺮﻑ ﺃﺧﺮﻯ ﻣﻌﺮﻭﻓﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﻟﻜﻨﻬﺎ ﻗﻠﻴﻠﺔ ﻛﺼﻨﺎﻋﺔ ﺍﳊﻠﻲ ﻭﺍ‪‬ﻮﻫﺮﺍﺕ ﻭﺻﻨﺎﻋﺔ‬
‫ﺍﻟﻘﻔﻖ ﺑﺎﳊﻠﻔﺎﺀ ‪...‬ﺇﱁ ‪.‬‬

‫)‪ (1‬ﺣﺮﺻﻲ = ﺃﺳﺮﻋﻲ‪.‬‬

‫)‪ (2‬ﺑ‪‬ﺎﻩ ‪ :‬ﻟﻜﻲ ‪.‬‬
‫)‪ (3‬ﻟﹾﺠ‪‬ﺎﺟﺔ ‪ :‬ﺍﻟﺪﺟﺎﺟﺔ ‪.‬‬
‫)‪ (4‬ﺍﻟﻘﹸﻨﺎﺳﺔ ‪ :‬ﳊﺎﻑ ﻳﺴﺘﻌﻤﻞ ﻟﻠﻐﻄﺎﺀ ﻳﻨﺴﺞ ﺑﺎﻟﺼﻮﻑ ﺍﻷﺑﻴﺾ ﻓﻘﻂ ﻭﻫﻮ ﻧﻔﺴﻪ ﺍﳌﻠﺤﻔﺔ ﺑﻌﻜﺲ ﺍﳊﻮﱄ ﺍﻟﺬﻱ ﻳﻨﺴﺞ ﻣﻦ ﺍﻟﺼﻮﻑ ﺍﳌﻠﻮﻥ‬
‫)‪ (5‬ﺍﻟﺰﺭﺑﻴﺔ ﺍﳌﺮﻗﹸﻮﻣﺔ ‪ :‬ﻫﻲ ﻧﻮﻉ ﻣﻦ ﺍﻟﺰﺭﺍﰊ ﺍﳌﺸﻬﻮﺭﺓ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺗﻨﺴﺞ ﺑﺎﻟﺼﻮﻑ ﺍﳌﻠﹼﻮﻥ ﻭﺗﻌﻘﺪ ﺑﻌﻘﺪﺍﺕ ﺻﻐﲑﺍﺕ ﻳﺘﻢ ‪‬ﺎ ﺗﺸﻜﻴﻞ ﺻﻮﺭ‬
‫ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺯﻫﻮﺭ ﻭﻏﺰﻻﻥ ﻭﻏﲑﻫﺎ‬
‫)‪ (6‬ﺑ‪‬ﻮﻛﺘﺎﻧﺔ ‪ :‬ﻧﻮﻉ ﻣﻦ ﺍﻟﻔﺮﺍﺵ ﻳﻨﺴﺞ ﺑﺎﻟﻘﻤﺎﺵ ﺫﻱ ﺍﻟﻠﻮﻥ ﺍﻟﻮﺍﺣﺪ ﺃﻭ ﺍﻷﻟﻮﺍﻥ ﺍﳌﺨﺘﻠﻔﺔ ﺇﺫﺍ ﰎ ﻧﺴﺠﻪ ﺑﻄﺮﻳﻘﺔ ﺍﻟﻌﻘﺪ ﻳﺴﻤﻰ ﺍﻟﻌﻘﺪﺓ ﺃﻣﺎ ﺇﺫﺍ ﻧﺴﺞ‬
‫ﺑﺎﻟﻄﺮﻳﻘﺔ ﺍﻟﻌﺎﺩﻳﺔ ﺍﳌﻌﺮﻭﻓﺔ ﻓﻴﺴﻤﻰ ﻟﹶﻤ‪‬ﺴ‪‬ﺮ‪‬ﺡ‪‬‬
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‫ﻭﻣﺎ ﺩﻣﻨﺎ ﺑﺼﺪﺩ ﺍﳊﺪﻳﺚ ﻋﻦ ﻣﺎ ﲡﻮﺩ ﺑﻪ ﺃﻳﺎﺩﻱ ﺍﳌﺮﺃﺓ ﺍﳊﻀﻨﻴﺔ‪ ،‬ﻻﺑﺪ ﺃﻥ ﻧﻌﺮ‪‬ﺝ ﻋﻠﻰ‬
‫ﺍﻷﻛﻼﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﲢﻀ‪‬ﺮﻫﺎ ﻭﻧﺘﻌﺮ‪‬ﻑ ﻋﻠﻰ ﺃﳘﻬﺎ ‪.‬‬
‫ﺗﻨﺘﺸﺮ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻋﺪ‪‬ﺓ ﺃﻛﻼﺕ ﺷﻌﺒﻴﺔ ﺗﻌﺘﻤﺪ ﺑﺸﻜﻞ ﺃﺳﺎﺳﻲ ﻋﻠﻰ ﺍﻟﻘﻤﺢ ﺍﻟﺬﻱ ﻳ‪‬ﻌﺘﱪ‬
‫ﺍﳌﻜﻮﻥ ﺍﻷﺳﺎﺳﻲ ﳍﺎ‪ ،‬ﻭﻣﻦ ﺃﻣﺜﻠﺘﻬﺎ ﳒﺪ ﺍﻟﻘﻠﻴﺔ؛ ﺍﻟﱵ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﻗﻤﺢ ﳏﻤ‪‬ﺺ ﻳﺘﻢ ﺗﻨﻘﻴﺘﻪ ﻣﻦ‬
‫ﺍﳊﺠﺎﺭﺓ ﺍﻟﺼﻐﲑﺓ ﻭﻏﺴﻠﻪ ﺟﻴ‪‬ﺪﺍ ﻣﺴﺒﻘﹰﺎ ‪ ،‬ﰒﹼ ﲤﻠﻴﺤﻪ ‪.‬‬
‫ﻭﻣﻦ ﺍﳌﺎﺩﺓ ﻧﻔﺴﻬﺎ ﺃﻱ ﺍﻟﻘﻤﺢ ﻳ‪‬ﺼﻨﻊ ﺍﻟﺸ‪‬ﺮ‪‬ﺷ‪‬ﻢ‪ ‬ﺃﻳﻀﺎ ﺍﻟﺬﻱ ﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﻗﻤﺢ ﻳﻐ‪‬ﻠﻰ ﻣﻊ‬
‫ﺍﳊﻤﺺ ﺍﳉﺎﻑ ﰲ ﺍﳌﺎﺀ ﻭﺍﳌﻠﺢ ‪ ،‬ﻭﺑﻌﺪ ﻧﻀﺠﻪ ﻳﺼﻔﻰ ﻣﻦ ﺍﳌﺎﺀ ‪ ،‬ﻭﻳﻘﹼﺪﻡ ﻟﻸﻛﻞ ‪ ،‬ﻭﻫﺬﻩ ﺍﻷﻛﻠﺔ‬
‫ﻣﺮﺗﺒﻄﺔ ﺑﺎﻷﻃﻔﺎﻝ ﺍﻟﺮﺿ‪‬ﻊ ﺍﻟﺬﻳﻦ ﺗﻨﺒﺖ ﳍﻢ ﺍﻷﺳﻨﺎﻥ ﻷﻭﻝ ﻣﺮﺓ ﻓﺎﺣﺘﻔﺎﻻ ﺑﺎﻟﺮﺿﻴﻊ ﲢﻀﺮ ﻫﺬﻩ‬
‫ﺍﻷﻛﻠﺔ ﻭﺗﻮﺯﻉ ﻋﻠﻰ ﺍﳉﲑﺍﻥ ﻭﺍﻷﻗﺎﺭﺏ ‪.‬‬
‫ﻛﻤﺎ ﺗﺸﺘﻬﺮ ﺍﳌﻨﻄﻘﺔ ﺃﻳﻀﺎ ﺑﺎﻟﺮﻭﻳﻨﺔ ﻭﻫﻲ ﺃﻛﻠﺔ ﺷﻌﺒﻴﺔ ﻣﺮﺗﺒﻄﺔ ﺟﺪ‪‬ﺍ ﺑﺎﳌﺴﻴﻠﺔ ﺣﻴﺚ ﲢﻀ‪‬ﺮ ﻣﻦ‬
‫ﻣﺴﺤﻮﻕ ﺍﻟﻘﻤﺢ ﺍﶈﻤﺺ ﻣﻀﺎﻓﺎ ﺇﻟﻴﻪ ﺍﻟﺴﻜﺮ ﻭﺍﻟﺰﺑﺪﺓ ﻭﺍﻟﻘﻠﻴﻞ ﻣﻦ ﺍﳌﻠﺢ ﻭﺍﻷﻛﻠﺔ ﻣﻨﺘﺸﺮﺓ ﺑﺼﻔﺔ‬
‫ﻛﺒﲑﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ﺧﺎﺻﺔ ﺑﺒﻮﺳﻌﺎﺩﺓ ﻭﺍﻟﺒﻠﺪﻳﺎﺕ ﺍ‪‬ﺎﻭﺭﺓ ﳍﺎ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﻟﺒﻠﺪﻳﺎﺕ ﺍﻟﺸﺮﻗﻴﺔ‪....‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥﹶ ﻣﺎﺩﺓ ﺍﻟﺮﻭﻳﻨﺔ ﺃﺳﺎﺳﻴﺔ ﻭﺻﺤﻴﺔ ﺟﺪﺍ‪ ،‬ﺑﻞ ﺗﺮﺍﻓﻖ ﺍﳌﺴﺎﻓﺮﻳﻦ ﰲ ﺳﻔﺮﻫﻢ‪،‬‬
‫ﻭﺧﺎﺻﺔ ﺣﺠﺎﺝ ﺑﻴﺖ ﺍﷲ ﳋﻔﹶﺔ ﻭﺯ‪‬ﺎ ﻭﺳﻬﻮﻟﺔ ﲢﻀﲑﻫﺎ ﺃﻳﻀﺎ ‪.‬‬
‫ﻭﻣﻦ ﺍﻷﻛﻼﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﻌﺮﻭﻓﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﺃﻳﻀﺎ ‪ :‬ﺍﻟﺸﺨﺸﻮﺧﺔ ﻭﺍﻟﱪﺑﻮﺷﺔ ﻭﻗﺪ ﺳﺒﻖ‬
‫ﺷﺮﺣﻬﻤﺎ ‪ ،‬ﻛﻤﺎ ﳛﻀ‪‬ﺮ ﺍﻟﻌﻴﺶ)‪(1‬ﻭﺍﳌﻔﻠﻘﺔ)‪...(2‬ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻷﻛﻼﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﺗﻌﻜﺲ ﺍﻟﺬﻭﻕ‬
‫ﺍﻟﺮﻓﻴﻊ ﻭﺍﻟﻨﻔﺲ ﺍﻟﻄﻴ‪‬ﺐ ﻟﻠﻤﺮﺃﺓ ﺍﳊﻀﻨﻴﺔ ﺣﺘ‪‬ﻰ ﻭﺇﻥ ﻛﺎﻥ ﺑﺴﻴﻄﺎ‪ ،‬ﻭﻭﺳﺎﺋﻠﻪ ﺃﺑﺴﻂ ‪ ،‬ﻓﺈﻧﻪ ﻳﺒﻘﻰ ﺗﺮﺍﺛﺎ‬
‫ﺷﻌﺒﻴﺎ ﻣﺌﺔ ﺑﺎﳌﺌﺔ‪.‬‬
‫ﺝ‪ -‬ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫ﺇﻥﹼ ﻟﻺﻧﺴﺎﻥ ﰲ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲰﺔ ﲤﻴ‪‬ﺰﻩ ﰲ ﺍﻟﺘ‪‬ﻌﺒﲑ ﻋﻦ ﺃﻓﻜﺎﺭﻩ ﻭﺧﻠﺠﺎﺕ ﻧﻔﺴﻪ ﺑﻄﺮﻳﻘﺔ‬
‫ﻋﻔﻮﻳﺔ ﺗﺘﻮﺍﻓﻖ ﻭﻣﺘﻄﻠﺒﺎﺗﻪ ﺍﻟﻴﻮﻣﻴﺔ ‪ ،‬ﻟﲑﺿﻲ ﻓﻀﻮﻟﻪ ‪ ،‬ﻓﻴﺒﺎﺩﺭ ﺇﱃ ﺗﻘﺪﱘ ﺗﻔﺴﲑﺍﺕ ﻏﺮﻳﺒﺔ ﻷﺷﻴﺎﺀ ﻛﺜﲑﺓ‬
‫ﺗﺼﺎﺩﻓﻪ ﰲ ﺣﻴﺎﺗﻪ ‪.‬‬

‫)‪ (1‬ﺍﻟﻌﻴﺶ‪ :‬ﻳﺸﺒﻪ ﺍﻟﻜﺴﻜﺲ ﰲ ﻃﺮﻳﻘﺔ ﺻﻨﻌﻪ ﻟﻜﻦ ﺣﺠﻤﻪ ﳜﺘﻠﻒ ﺣﻴﺚ ﻳﻘﺎﺭﺏ ﺣﺒﺔ ﺍﻟﻌﺪﺱ ‪.‬‬
‫)‪ (2‬ﺍﳌﻔﻠﻘﺔ‪ :‬ﻗﻤﺢ ﻳﻄﺤﻦ ﺑﺮﺣﻰ ﻳﺪﻭﻳﺔ ﺗﻌﻤﻞ ﻋﻠﻰ ﺗﻜﺴﲑ ﺍﳊﺒﻴﺒﺎﺕ ﺩﻭﻥ ﺳﺤﻘﻬﺎ ‪ ،‬ﻭﺗﻄﻬﻰ ﰲ ﺍﳌﺮﻕ ﺣﱴ ﺗﺘﺸﺮﺏ ﺍﳌﺮﻕ ﻛﻞ ﺃﺟﺰﺍﺀ ﺍﻟﻘﻤﺢ ﰒ ﺗﺪﻫﻦ‬
‫ﺑﺎﻟﺰﺑﺪﺓ ‪.‬‬
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‫ﺇﻧ‪‬ﻬﺎ ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ " ﺍﻟﱵ ﲤﺜﻞ ﺟﺎﻧﺒﺎ ﻣﻬﻤ‪‬ﺎ ﻣﻦ ﺟﻮﺍﻧﺐ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﱵ ﻳﺘﻠﻘﹼﺎﻫﺎ ﺍﻟﻔﺮﺩ ‪،‬‬
‫ﻭﳝﺎﺭﺳﻬﺎ ﺩﺍﺧﻞ ﺍﻟﺘﺠﻤ‪‬ﻌﺎﺕ ﺍﻟﺴﺎﻟﻔﺔ ﺍﻟﺬﻛﺮ ‪ ،‬ﻭﻣﻦ ﻭﺣﻴﻬﺎ ﻳﺘﺸﻜﻞ ﺳﻠﻮﻛﻪ ﻭﻓﻠﺴﻔﺘﻪ ﰲ ﺍﳊﻴﺎﺓ ‪،‬‬
‫) ‪(1‬‬
‫ﻭﺗﺼﻮ‪‬ﺭﻩ ﻟﻠﻌﺎﱂ ﺍﳋﺎﺭﺟﻲ ﻭﻋﺎﱂ ﻣﺎ ﻭﺭﺍﺀ ﺍﻟﻄﺒﻴﻌﺔ "‪.‬‬
‫ﻭﺍﻟﺴﺒﺐ ﰲ ﺇﻋﻄﺎﺋﻪ ﳍﺬﻩ ﺍﻟﺘﻔﺴﲑﺍﺕ ﺍﻟﻐﻴﺒﻴﺔ ﺃﻧ‪‬ﻪ ﻳﻌﺘﻘﺪ ﺑﻮﺟﻮﺩ ﻋﺎﱂ ﳎﻬﻮﻝ ﻏﲑ ﻋﺎﳌﻪ ﻫﺬﺍ ‪،‬‬
‫"ﻭﻫﻨﺎ ﺗﻜﻤﻦ ﺻﻌﻮﺑﺔ ﺍﻹﳌﺎﻡ ﲜﻤﻴﻊ ﻣﻌﺘﻘﺪﺍﺕ ﺃﻱ‪ ‬ﳎﺘﻤﻊ ‪ ،‬ﻭﺩﺭﺍﺳﺘﻬﺎ ﺩﺭﺍﺳﺔ ﺩﻗﻴﻘﺔ ﻷﻧ‪‬ﻬﺎ ﺧﺒﻴﺌﺔ ﰲ‬
‫) ‪(2‬‬
‫ﺻﺪﻭﺭ ﺍﻟﻨ‪‬ﺎﺱ"‪.‬‬
‫ﻭﲤﺎﺭﺱ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻣﻌﺘﻘﺪﺍﺕ ﺷﻌﺒﻴﺔ ﻛﺜﲑﺓ ﺳﻨﺤﺎﻭﻝ ﺃﻥ ﻧﺘﻮﻗﻒ ﻋﻨﺪ‬
‫ﺃﳘﹼﻬﺎ ‪:‬‬
‫ﺝ‪ -1-‬ﺍﳌﻬﺮﺟﺎﻧﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ :‬ﳝﺜﹼﻠﻬﺎ ﻣﺎ ﺍﺻﻄﻠﺢ ﺍ‪‬ﺘﻤﻊ ﺍﻟﺸﻌﱯ ﻋﻠﻰ ﺗﺴﻤﻴﺘﻪ "ﺑﺎﻟﺰ‪‬ﺭﺩﺓ" ﻭﻫﻲ‬
‫ﻋﺎﺩﺓ ﺍﻗﺘﺮﻧﺖ ﲟﻮﺍﺳﻢ ﺍﳉﻔﺎﻑ‪ ،‬ﻳﻘﻮﻡ ﻓﻴﻬﺎ ﲡﻤﻊ ﺷﻌﱯ ﻛﺒﲑ ﲢﻀ‪‬ﺮ ﻓﻴﻪ ﺍﻟﻨﺴﻮﺓ ﺃﻛﻠﺔ ﺍﻟﻜﺴﻜﺴﻲ‬
‫ﺍﻟﱵ ﳚﻤﻊ ﺍﻷﻃﻔﺎﻝ ﺍﻟﺼﻐﺎﺭ ﻟﻮﺍﺯﻣﻬﺎ ﻣﻦ ﺧﻀﺮ ﻭﺗﻮﺍﺑﻞ ﺃﻭ ﻧﻘﻮﺩ‪ ،‬ﻭﻫﻢ ﳛﻤﻠﻮﻥ ﻣﻌﻬﻢ ﻣﺎ ﻳﺴﻤ‪‬ﻰ‬
‫"ﺑﺒﻮﻏﻨﺠﺔ ")‪.(3‬‬
‫ﺣﻴﺚ ﻳﺘﻨﺎﻓﺲ ﺍﻷﻃﻔﺎﻝ ﻋﻠﻰ ﲪﻠﻪ ﻭﻳﺴﲑﻭﻥ ﺑﻪ ﰲ ﺍﻟﺸﻮﺍﺭﻉ ﻗﺎﺋﻠﲔ "ﻳﺎﺑﻮﻗﻨﺠﺔ ﺣﺮ‪‬ﻙ ﺭﺍﺳﻚ‬
‫ﻭﻳﺎﺭﺑ‪‬ﻲ ﴰﺦ ﻧﺎﺳﻚ")‪ ،(4‬ﺑﻌﺪ ﻋﻤﻠﻴﺔ ﺍﳉﻤﻊ ﻫﺬﻩ ﻳ‪‬ﺸﺮﻯ ﺍﻟﺪﻗﻴﻖ ﰒ ﻳﺘﻢ‪ ‬ﻓﺘﻞ ﺍﻟﻜﺴﻜﺴﻲ ‪ ،‬ﻭﺑﻌﺪﻩ‬
‫ﻳﺘﻢ ﺍﻹﻋﻼﻥ ﻋﻦ ﻣﻮﻋﺪ ﺍﻟﺰﺭﺩﺓ ﻭﻣﻜﺎ‪‬ﺎ‪ ،‬ﻟﺘﺠﺘﻤﻊ ﺍﻟﻨ‪‬ﺴﻮﺓ ﻣﻦ ﺟﺪﻳﺪ ﻟﻠﻄﻬﻲ ‪ ،‬ﻭﻳﺘﻮﻟﹼﻰ ﺍﻷﻭﻻﺩ ﺗﻘﺪﱘ‬
‫ﺍﻷﻛﻞ ﻟﻠﺤﺎﺿﺮﻳﻦ ‪.‬‬

‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥﹼ ﻫﺬﻩ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﲤﻴ‪‬ﺰ ﺃﻏﻠﺐ ﺑﻠﺪﻳﺎﺕ ﺍﳌﺴﻴﻠﺔ ﺍﻟﻐﺮﺑﻴﺔ‬
‫ﻭﺍﳉﻨﻮﺑﻴﺔ ﻛﺤﻤﺎﻡ ﺍﻟﻀﻠﻌﺔ ﻭﻭﻧﻮﻏﺔ ‪ ،‬ﻭﺑﻮﺳﻌﺎﺩﺓ ‪ ،‬ﻭﻋﲔ ﺍﳊﺠﻞ ‪...‬ﺇﱁ ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺒﻠﺪﻳﺎﺕ ﺍﻟﺸﺮﻗﻴﺔ ﻓﺘﺨﺎﻟﻔﻬﺎ ﰲ ﺍﻷﻛﻠﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﺗﻌﻮ‪‬ﺿﻬﺎ ﲟﺎ ﻳﺴﻤ‪‬ﻰ ﺷﺨﺸﻮﺧﺔ ﺃﻭﻻﺩ‬
‫ﺩﺭﺍﺝ )‪.(5‬ﺍﻟﱵ ﻳﺘﻢ ﺗﻮﺯﻳﻌﻬﺎ ﺃﺛﻨﺎﺀ ﺍﻟﺰﺭﺩﺓ ﻋﻠﻰ ﺍﳊﻀﻮﺭ‪ ،‬ﻭﺗ‪‬ﻤﺎﺭﺱ ﺃﺛﻨﺎﺀﻫﺎ ﻃﻘﻮﺱ ﻏﺮﺑﻴﺔ ﻛﺘﻬﻮ‪‬ﻝ‬

‫)‪(1‬‬
‫ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ )ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ(‪ ،‬ﺹ ‪.21‬‬
‫)‪(2‬‬
‫ﺛﺮﺑﺎ ﺍﻟﺘﻴﺠﺎﱐ ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ ‪ ،‬ﺹ ‪.31‬‬
‫)‪(3‬‬
‫ﺑﻮﻗﻨﺠﺔ ‪ :‬ﻋﻮﺩ‪ ‬ﻃﻮﻳﻞ ﻭﺃﺣﻴﺎﻧﺎ ﻣﻠﻌﻘﺔ ﻛﺒﲑﺓ ﺗ‪‬ﺠﻬ‪‬ﺰ ﻋﻠﻰ ﺷﻜﻞ ﻋﺮﻭﺱ ﲟﻨﺎﺩﻳﻞ ﳐﺘﻠﻔﺔ ‪.‬‬
‫)‪(4‬‬
‫ﺭﻭﺍﻳﺔ ﺷﻌﺒﻴﺔ‪.‬‬
‫)‪(5‬‬
‫ﺍﻟﺸﺨﺸﻮﺧﺔ ‪ :‬ﺃﻛﻠﺔ ﺷﻌﺒﻴﺔ ﺗﺸﺘﻬﺮ ‪‬ﺎ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ‪ ،‬ﲢﻀ‪‬ﺮ ﻣﻦ ﻓﺘﺎﺕ ﺍﳋﺒﺰ ﺍﻟﺬﻱ ﳚﻬ‪‬ﺰ ﰲ ﺍﻟﺒﻴﺖ )ﺍﻟﻜﺴﺮﺓ(‪ ،‬ﰒ ﺗ‪‬ﺴﻘﹼﻰ ﲟﺮﻕ ﺍﻟﻠﺤﻢ ﺃﻭ ﺍﻟﺪﺟﺎﺝ‬
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‫ﺍﻟﺮﺟﺎﻝ ﻭﺍﻟﻨﺴﺎﺀ ‪ ،‬ﻭﺍﻟﺮﻗﺺ ﻋﻠﻰ ﺍﻟﻄﺒﻞ ﺑﺎﻟﻘﺪﻣﲔ ﺩﻭﻥ ﺃﻥ ﻳﺘﻤﺰ‪‬ﻕ‪ ،‬ﻭﲪﻞ ﺍﻟﺸﺨﺸﻮﺧﺔ)‪ (1‬ﻭﻫﻲ‬
‫ﺳﺎﺧﻨﺔ ﺑﺎﻟﻴﺪﻳﻦ ﺩﻭﻥ ﺃﻥ ﳛﺘﺮﻑ ﺣﺎﻣﻠﻬﺎ‪....‬ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﱵ ﺗﺪﻓﻊ ﻋﻠﻰ ﺍﻟﺪﻫﺸﺔ‬
‫ﻭﺍﳊﲑﺓ ‪.‬‬
‫ﻛﻤﺎ ﺗﺸﺘﻬﺮ ﺍﳌﺴﻴﻠﺔ ﺑﺄﻋﻴﺎﺩ ﻣﻮﲰﻴﺔ ﻛﻌﻴﺪ ﺍﻟﱪﻗﻮﻕ ﻭﻋﻴﺪ ﺍﻟﺮﺑﻴﻊ ﺍﻟﺬﻱ ﻳﻨﻈﹼﻢ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﻗﻠﻌﺔ‬
‫ﺑﻦ ﲪ‪‬ﺎﺩ ﺑﺎﳌﻌﺎﺿﻴﺪ‪.‬‬
‫ﺝ‪ -2-‬ﺑﺮﻛﺔ ﺍﻷﻭﻟﻴﺎﺀ ‪ :‬ﺗﺆﻣﻦ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ‪‬ﺬﻩ ﺍﻟﻔﻜﺮﺓ ﺧﺎﺻﺔ ﻓﺌﺔ ﺍﳌﺴﻨﲔ‬
‫ﺣﻴﺚ ﻳﺘﻮﺟﻬﻮﻥ ﺇﱃ ﺃﺿﺮﺣﺔ ﺍﻷﻭﻟﻴﺎﺀ ﺍﻟﺼﺎﳊﲔ ‪ ،‬ﻛﺴﻴﺪﻱ ﺑﻮﲨﻠﲔ ﺑﺒﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ﻭﻻﻻﹼ ﻗﺪﻳﺸﺔ‬
‫ﺑﺒﻠﺪﻳﺔ ﺑﺮﻫﻮﻡ ‪ ،‬ﻭﺳﻴﺪﻱ ﻋﻴﺴﻰ ﺫﻭ ﺍﻟﻘﱪﻳﻦ ﺑﺒﻠﺪﻳﺔ ﻭﻧﻮﻏﺔ ‪ ...‬ﻭﻏﲑﻫﻢ ‪.‬‬
‫ﻃﺎﻟﺒﲔ ﺍﻟﻌﻮﻥ ﻭﺍﳌﺴﺎﻋﺪﺓ ‪ ،‬ﺑﻌﺪ ﺃﻥ ﺍﺳﺘﺼﻌﺐ ﻋﻠﻴﻬﻢ ﺣ‪‬ﻞ ﻣﺸﺎﻛﻠﻬﻢ ‪ ،‬ﻓﻘﺪ ﺧﻴ‪‬ﻢ ﻋﻠﻰ‬
‫ﻋﻘﻮﳍﻢ ﰲ ﻭﻗﺖ ﻟﻴﺲ ﺑﺎﻟﺒﻌﻴﺪ ﺃﻥﹼ ﺍﻟﺘﻘﺮ‪‬ﺏ ﺇﱃ ﺍﻷﻭﻟﻴﺎﺀ ﺍﻟﺼﺎﳊﲔ ﳚﻠﺐ ﳍﻢ ﺍﳊﻆ ‪ ،‬ﻭﻳﻔﺘﺢ ﺃﺑﻮﺍﺏ‬
‫ﺍﳋﲑ ﺃﻣﺎﻣﻬﻢ ‪.‬‬
‫ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻳﺪﻓﻌﻬﻢ ﺇﱃ ﺯﻳﺎﺭﺓ ﻗﺒﻮﺭﻫﻢ ﺑﺎﺳﺘﻤﺮﺍﺭ ﻭﺍﻟﺘ‪‬ﻘﺮﺏ ﺇﻟﻴﻬﻢ ﺑﺎﳌﺬﺑﻮﺣﺎﺕ ﻣﻦ ﻏﻨﻢ‬
‫ﻭﺃﺑﻘﺎﺭ ﻇﻨ‪‬ﺎ ﻣﻨﻬﻢ ﺃﻥﹼ ﻫﺬﻩ ﺍﳌﺒﺎﺩﺭﺓ ﺳﺘﺠﻌﻞ ﺍﻷﻭﻟﻴﺎﺀ ﺍﻟﺼﺎﳊﲔ ﻳﺮﺿﻮﻥ ﻋﻨﻬﻢ ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥﹼ ﻫﺬﻩ ﺍﳌﻤﺎﺭﺳﺎﺕ ‪.‬ﺍﻧﺘﺸﺮﺕ ﰲ ﺍﳌﻨﻄﻘﺔ ﻗﺪﳝﺎ ﻭﺑﺸﻜﻞ ﻭﺍﺿﺢ ‪،‬ﺃﻣ‪‬ﺎ‬
‫ﺍﻵﻥ ﻓﻠﻢ ﻳﻌﺪﳍﺎ ﻭﺟﻮﺩ ‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ‪ ،‬ﻓﻨﺎﺩﺭﺍ ﻣﺎ ﻧﺴﻤﻊ ﻋﻨﻬﺎ ‪.‬‬
‫ﺝ‪ -3-‬ﺍﻻﻋﺘﻘﺎﺩ ﰲ ﻭﺟﻮﺩ ﺍﳉﻦ ‪ :‬ﻳﻨﻄﻠﻖ ﻫﺬﺍ ﺍﻻﻋﺘﻘﺎﺩ ﻣﻦ ﻓﻜﺮﺓ ﺃﻧ‪‬ﻪ ﺇﱃ ﺟﺎﻧﺐ ﻫﺬﺍ ﺍﻟﻌﺎﱂ‬
‫ﺍﳌﻤﻠﻮﺀ ﺑﺎﻟﺒﺸﺮ ﻳﻮﺟﺪ ﻋﺎﱂ ﻏﻴﱯ ﺁﺧﺮ ‪ ،‬ﻳﺘﻤﺜﻞ ﰲ ﻋﺎﱂ ﺍﳉﻦ ‪ ،‬ﻓﻤﺜﻠﻤﺎ ﻳﻮﺟﺪ ﻟﻠﺒﺸﺮ ﻋﺎﳌﻬﻢ ﻓﻠﻠﺠﻦ‬
‫ﻋﺎﳌﻬﻢ ﺃﻳﻀﺎ ‪،‬ﻛﻤﺎ ﳍﻢ ﺩﻳﺎﻧﺎ‪‬ﻢ ﻭﺃﺟﻨﺎﺳﻬﻢ ﺍﳌﺨﺘﻠﻔﺔ‪....‬‬
‫ﻭﻳﻌﺘﻘﺪﻭﻥ ﺃﻥ ﺍﳉﻦ ﺗﺴﻜﻦ ﺍﳌﻨﺎﻃﻖ ﺍﳋﺎﻟﻴﺔ ﻛﺎﻟﻐﺎﺑﺎﺕ ﻭﺍﳌﻨﺎﺯﻝ ﺍﳌﻬﺠﻮﺭﺓ ﻭﺍﻷﻣﺎﻛﻦ ﺍﻟﻘﺬﺭﺓ‪،‬‬
‫ﻭﺃﻣﺎﻛﻦ ﺍﻟﺪﻡ ﺍﳌﺴﻔﻮﻙ‪...،‬ﻓﺈﺫﺍ ﻣﺮ‪ ‬ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻫﺬﻩ ﺍﻷﻣﺎﻛﻦ ﻳﺘﻌﺮ‪‬ﺽ ﻟﻸﺫﻯ ﻣﻦ ﻃﺮﻓﻬﻢ‬
‫ﻭﺃﺻﻌﺐ ﺃﺻﻨﺎﻑ ﺍﳉﻦ‪ ‬ﰲ ﺍﻋﺘﻘﺎﺩﻫﻢ ﻫﻮ ﺍﳉﻦ ﺍﻟﻴﻬﻮﺩﻱ‪.‬‬

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‫ﺝ‪ -4-‬ﺍﻻﻋﺘﻘﺎﺩ ﰲ ﻋﻮﺩﺓ ﺍﻟﺮ‪‬ﻭﺡ ﺑﻌﺪ ﺍﳌﻮﺕ ‪:‬ﻫﻨﺎﻙ ﺍﻋﺘﻘﺎﺩ ﺷﺎﺋﻊ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﻭﻫﻮ ﺃﻥ‬
‫ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﻣﺎﺕ ﻣﻘﺘﻮﻻ ﺃﻭ ﻣﻨﺘﺤﺮﺍ ﺗﻌﻮﺩ ﺭﻭﺣﻪ ﻣﺘﻤﺜﻠﺔ ﰲ ﺷﺒﺢ ﳜﺮﺝ ﰲ ﻣﻜﺎﻥ ﻭﻓﺎﺗﻪ‬
‫ﻭﻳﻔﺴ‪‬ﺮﻭﻥ ﺫﻟﻚ ﺑﺄﻥﹼ ﻫﺬﺍ ﺍﻹﻧﺴﺎﻥ ﻗﺪ ﻣﺎﺕ ﻗﺒﻞ ﺣﻠﻮﻝ ﺃﺟﻠﻪ ﻭﻫﺬﺍ ﻫﻮ ﺗﱪﻳﺮ ﻋﻮﺩ‪‬ﺎ )‪.(1‬‬
‫ﺝ‪ -5-‬ﺍﻻﻋﺘﻘﺎﺩ ﰲ ﻧﻄﻖ ﺍﻷﺷﻴﺎﺀ ‪ :‬ﺣﻴﺚ ﺗﻌﺘﻘﺪ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻥﹼ ﻛﻞ ﺍﻷﺷﻴﺎﺀ ﺍﻟﱵ ﲢﻴﻂ ﺑﻨﺎ‬
‫ﻫﻲ ﰲ ﺣﻘﻴﻘﺔ ﺍﻷﻣﺮ ﻧﺎﻃﻘﺔ ﻭﻫﺬﺍ ﻛﺎﻥ ﰲ ﺯﻣﻦ ﺑﻌﻴﺪ ﺟﺪ‪‬ﺍ ﻋﻦ ﺯﻣﻨﻴﺎ ‪ ،‬ﺑﻞ ﻭﺣﺘ‪‬ﻰ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺃﻳﻀﺎ‬
‫ﺣﻴﺚ ﻳﺮﻭﻱ ﻟﻨﺎ ﺃﺣﺪ ﺃﻋﻴﺎﻥ ﺍﳌﻨﻄﻘﺔ )‪(2‬ﻗﺼﺔ ﻣﻔﺎﺩﻫﺎ ﺃﻥ ﻧﺴﻮﺓ ﰲ ﺍﻟﻘﺪﱘ ﺃﻣﺮﻥ ﺍﻟﻘﻨﻔﺪ ﺃﻥ ﳛﺘﻄﺐ‬
‫ﳍﻦ‪ ‬ﻷ‪‬ﻦ ﺳﻴﺤﻀ‪‬ﺮﻥ ﺃﻛﻠﺔ ﺍﻟﺸﺮﺷﻢ ‪،‬ﻭﺳﻴﻌﻄﻮﻧﻪ ﻣﻘﺎﺑﻞ ﺍﺣﺘﻄﺎﺑﻪ ﻧﺼﻴﺒﺎ ﻣﻦ ﺍﻷﻛﻠﺔ ﻓﻔﻌﻞ ﻣﺎ ﻃﻠﺐ‬
‫ﻣﻨﻪ‪ ،‬ﻭﳌﹼﺎ ﺣﺎﻥ ﻣﻮﻋﺪ ﺍﳌﻜﺎﻓﺄﺓ ﻃﻠﱭ ﻣﻨﻪ ﺃﻥ ﳛﻤﻞ ﺑﻴﺪﻩ ﺍﻟﺸﺮﺷﻢ ﻣﻦ ﺍﻟﻘﺪﺭ ﺩﻭﻥ ﺃﻥ ﻳﻨﻈﺮ ﺇﻟﻴﻬﺎ ﻓﺮﻓﻊ‬
‫ﺍﻟﻘﻨﻔﺪ ﻳﺪﻩ ﻭﺃﺩﺧﻠﻬﺎ ﺍﻟﻘﺪﺭ ﻓﺎﺣﺘﺮﻗﺖ ﻣﻦ ﺍﳌﺎﺀ ﺍﻟﺴﺎﺧﻦ ﺍﻟﺬﻱ ﲢﻮﻳﻪ ‪،‬ﺇﺫ ﻻ ﻭﺟﻮﺩ ﻟﻠﺸﺮﺷﻢ ﻓﻴﻬﺎ ‪،‬‬
‫ﻓﺒﻜﻰ ﻣﻄﻮ‪‬ﻻ ﰒﹼ ﺃﺧﺬ ﻗﻄﻌﺔ ﻣﻦ ﺍﳉﻤﺮ ﻭﺣﺮﻕ ‪‬ﺎ ﺑﲔ ﻋﻴﻨﻴﻪ‪ ،‬ﻭﻗﺎﻝ "ﻛﻴ‪‬ﺔ ﺍﻟﻨ‪‬ﺴ‪‬ﺎ ﻣﺎ ﺗﺘﻨﺴﻰ‬
‫ﻭ‪‬ﻣ‪‬ﺮ‪‬ﻗﹶﺘ‪‬ﻬ‪‬ﻢ‪ (3)‬ﻣ‪‬ﺎ ﺗ‪‬ﺘ‪‬ﺤ‪‬ﺴ‪‬ﺎ"‪.‬‬
‫ﻭﻣﻨﺬ ﺫﻟﻚ ﺍﳊﲔ ﻭﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﻌﺘﻘﺪ ﺃﻥ ﺍﻟﻌﻼﻣﺔ ﺍﳌﻮﺟﻮﺩﺓ ﺑﲔ ﻋﻴﲏ ﺍﻟﻘﻨﻔﺪ ﻫﻲ ﻧﺘﻴﺠﺔ‬
‫ﺍﻟﻜﻲ ﺑﺎﳉﻤﺮ ﺑﻌﺪ ﺃﻥ ﻏﺪﺭﺕ ﺑﻪ ﺍﻟﻨﺴﻮﺓ ‪.‬‬
‫ﻛﻤﺎ ﺗﻘﻮﻝ ﻟﻨﺎ ﺇﺣﺪﻯ ﺍﻟﺮﺍﻭﻳﺎﺕ )‪(4‬ﺃﻥ ﺍﻟﺒﻮﻣﺔ ﻗﺪﳝﺎ ﻛﺎﻧﺖ ﺗﺘﺤﺪﺙ ﻣﻊ ﺍﻹﻧﺴﺎﻥ ‪ ،‬ﺇﺫ ﰲ ﻣﺮ‪‬ﺓ‬
‫ﻣﻦ ﺍﳌﺮﺍﺕ ﺃﻣﺮﻫﺎ ﻫﺬﺍ ﺍﻷﺧﲑ ﺃﻥ ﲡﻠﺐ ﻟﻪ ﺍﳌﺎﺀ ﻣﻦ ﻣﻜﺎﻥ ﺑﻌﻴﺪ ﻭﻛﺎﻥ ﳍﺎ ﺃﺥ ﻋﺰﻳﺰ ﻋﻠﻴﻬﺎ ﻭﱂ ﲡﺪ‬
‫ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺗﺘﺮﻛﻪ ﻓﻴﻪ ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ ﺍﻹﻧﺴﺎﻥ ﺩﻋﻴﻪ ﻋﻨﺪﻱ ﻭﺃﻧﺎ ﺃﺣﺘﻔﻆ ﺑﻪ ﻟﻚ‪. ‬‬
‫ﻓﺬﻫﺒﺖ ﻹﺣﻀﺎﺭ ﺍﳌﺎﺀ ﻭﳌﺎﹼ ﻋﺎﺩﺕ ﺃﻋﻄﺘﻪ ﺇﻳﺎﻩ ﻭﻟﻜﻨ‪‬ﻬﺎ ﻭﺟﺪﺕ ﺃﺧﺎﻫﺎ ﻣﻘﺘﻮﻻ ﻓﺄﺧﺬﺕ ﺗﻨﻮﺡ‬
‫ﻋﻠﻴﻪ ﻭﺗﺒﻜﻴﻪ ﻭﺗﻮﻋﺪﺕ ﺍﻹﻧﺴﺎﻥ ﺑﺎﻟﺸﺮ‪. ‬‬
‫ﻭﻣﻨﺬ ﺫﻟﻚ ﺍﳊﲔ ﻭﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﻌﺘﻘﺪ ﰲ ﺍﻟﺒﻮﻣﺔ ﺷﺮ‪‬ﺍ ‪.‬ﻭﺃﻥﹼ ﰲ ﺻﻮ‪‬ﺎ ﺑﻜﺎﺀ ﻋﻠﻰ ﺃﺧﻴﻬﺎ‬
‫ﺍﳌﻘﺘﻮﻝ ﻭﻟﻴﺲ ﺻﻮﺗﺎ ﻋﺎﺩﻳﺎ ﻛﺒﻘﻴﺔ ﺍﻟﻄﻴﻮﺭ‪ ،‬ﻛﻤﺎ ﺗﻌﺘﻘﺪ ﺍﳉﻤﺎﻋﺔ ﺃﻥﹼ ﺍﻟﺒﻴﺖ ﺍﻟﺬﻱ ﲢﻂ ﻋﻠﻴﻪ ﺍﻟﺒﻮﻣﺔ ﺃﻭ‬
‫ﺗﻨﻈﺮ ﺇﻟﻴﻪ ‪ ،‬ﺳﺘﺤﺪﺙ ﻟﻪ ﺍﳌﺸﺎﻛﻞ ﻭﺍﳌﻮﺕ ﺃﻳﻀﺎ ‪.‬‬

‫)‪(1‬‬
‫ﺍﻟﺮﺍﻭﻱ ‪ :‬ﺍﳊﺎﺝ ﻋﻤﺎﺭ‪69 ،‬ﺳﻨﺔ ﺣﻲ ﺍﻟﺸﻬﺪﺍﺀ‪ ،‬ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ‪.‬‬
‫)‪(2‬‬
‫ﺍﻟﺮﺍﻭﻱ ‪ :‬ﺏ‪،‬ﻋﺎﺋﺸﺔ ﻣﻦ ﻣﻮﺍﻟﻴﺪ ‪ 1945‬ﻡ ﺭﺑﺔ ﺑﻴﺖ ﺑﺮﻫﻮﻡ‪.‬‬
‫)‪(3‬‬
‫ﻣﺮﭬ‪‬ﻢ ‪ :‬ﻣﺮﻗﻬﻢ ﺃﻭ ﺣﺴﺎﺅﻫﻢ ‪.‬‬
‫)‪(4‬‬
‫ﺍﻟﺮ‪‬ﺍﻭﻱ ‪:‬ﻉ‪ ،‬ﻓﹾﻄﹶﻴ‪‬ﻤ‪‬ﺔ‪ 70 ، ،‬ﺳﻨﺔ ‪ ،‬ﺭﺑﺔ ﺑﻴﺖ ‪ ،‬ﺑﻠﺪﻳﺔ ﻋﲔ ﺍﳋﻀﺮﺍﺀ ‪.‬‬
‫‪- 77 -‬‬
‫ﻭﻣﻦ ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻳﻀﺎ ﺃﻥﹼ ﺍﻟﺸﺎﺓ ﺇﺫﺍ ﻧﻈﺮﺕ ﺇﱃ ﺻﺎﺣﺒﻬﺎ ﻳ‪‬ﻘﺎﻝ ﺃ‪‬ﺎ ﺗ‪‬ﻨﺎﺩﻳﻪ ﻛﻲ ﻳﻄﻌﻤﻬﺎ‬
‫ﻭﻳﺴﻘﻴﻬﺎ ‪ ،‬ﻛﺬﻟﻚ ﻋﻨﺪﻣﺎ ﻳﻬﻴﻢ ﺃﺣﺪ ﻣﺎ ﺑﺎﻟﺬﻫﺎﺏ ﺇﱃ ﻣﻜﺎﻥ ﻣﻌﲔ ‪ ،‬ﻓﻴﺘﻌﺜﺮ ﻭﻳﺴﻘﻂ ﰲ ﺍﻟﻄﺮﻳﻖ‬
‫) ‪(1‬‬
‫ﻧﺘﻴﺠﺔ ﺍﺻﻄﺪﺍﻣﻪ ﲝﺠﺮ ﻓﻴﻌﺘﻘﺪ ﺃﻥﹼ ﺍﳊﺠﺮ ﻗﺎﻝ ﻟﻪ ‪ :‬ﻻ ﺗﺬﻫﺐ ﺇﱃ ﺫﻟﻚ ﺍﳌﻜﺎﻥ‬
‫ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﻧﺴﺠﺘﻬﺎ ﳐﻴ‪‬ﻠﺔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﺑﻞ ﻭﺟﻌﻠﺘﻬﺎ‬
‫ﻣ‪‬ﺴ‪‬ﻠﱠﻤﺔ ﻛﻮﻧﻴﺔ ﻻﺟﺪﺍﻝ ﻓﻴﻬﺎ ‪.‬‬
‫ﺝ‪ -6-‬ﺍﻟﺰﻣﻦ ﺍﻟﻔﻮﻟﻜﻠﻮﺭﻱ ‪ :‬ﻳﻠﻌﺐ ﺍﻟﺰ‪‬ﻣﻦ ﺩﻭﺭﺍ ﻫﺎﻣ‪‬ﺎ ﰲ ﺍﳌﻌﺘﻘﺪﺍﺕ ﻭﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻓﻘﺪ‬
‫ﻳﻜﻮﻥ ﻣﻦ ﺍﻟﻌﺴﲑ ﺇﻥ ﱂ ﻳﻜﻦ ﻣﻦ ﺍﳌﺴﺘﺤﻴﻞ ﺑﺎﻟﻨﺴﺒﺔ ﳌﻌﺎﺭﻓﻨﺎ ﺍﳊﺪﻳﺜﺔ ﺃﻥ ﺗﺘﻔﻬﻢ ﺃﻭ ﺃﻥ ﺗﻔﺴ‪‬ﺮ‬
‫) ‪(2‬‬
‫ﺍﻟﺪﻻﻻﺕ ﺍﳌﺨﺘﻠﻔﺔ ﻟﻜﺜﲑ ﻣﻦ ﺍﻟﻌﺎﺩﺍﺕ ﺍﻟﱵ ﺗﺮﺗﺒﻂ ﺑﺎﻟﺰﻣﻦ‬
‫ﻟﻘﺪ ﺍﺭﺗﺒﻂ ﺍﻟﺰﻣﻦ ﺑﻜﺜﲑ ﻣﻦ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﺍﻟﱵ ﻗﺪ ﺗﻘﺘﺼﺮ ﺃﻋﻤﺎﳍﺎ ﻋﻠﻰ ﺃﻭﻗﺎﺕ ﺯﻣﻨﻴﺔ‬
‫ﳏﺪ‪‬ﺩﺓ ‪،‬ﻛﻤﺎ ﺗﻜﺮﻩ ﺍﻟﻘﻴﺎﻡ ﺑﺄﻋﻤﺎﻝ ﺃﺧﺮﻯ ﰲ ﺃﺯﻣﻨﺔ ﻣﻌﻴ‪‬ﻨﺔ‪"،‬ﻭﻳﻌﺘﱪ ﺍﻟﺰﻣﻦ ﻣﻮﺿﻮﻋﺎ ﻣﻦ ﺍﳌﻮﺿﻮﻋﺎﺕ‬
‫ﺍﻷﺳﺎﺳﻴﺔ ﰲ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪ ،‬ﻧﻈﺮﺍ ﳌﺎﻟﻪ ﻣﻦ ﺗﺄﺛﲑﺍﺕ ﻭﺩﻻﻻﺕ ﳐﺘﻠﻔﺔ ﰲ ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻭﰲ ﺍﳊﻴﺎﺓ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﺑﺼﻔﺔ ﻋﺎﻣﺔ‪ ،‬ﻓﻬﻮ ﳚﺮﻱ ﰲ ﺍﻷﻣﺜﺎﻝ ﻭﺍﳊﻜﻢ‪ ،‬ﻭﰲ ﺍﻟﺘﺸﺒﻬﺎﺕ ﻭﺍﺳﺘﻌﻘﺎﻻﺕ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ‪،‬‬
‫) ‪(3‬‬
‫ﻭﳚﺮﻱ ﺫﻟﻚ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻭﰲ ﺍﳌﻤﺎﺭﺳﺎﺕ ﻭﻏﲑ ﺫﻟﻚ"‬
‫ﻓﻔﻲ ﺍﻋﺘﻘﺎﺩ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲟﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻣﺜﻼ ﺃﻥﹼ ﺍﻟﻨﻬﻮﺽ ﺑﺎﻛﺮﺍ ﻭﻓﺘﺢ ﺍﻟﺒﺎﺏ ﰲ ﺫﻟﻚ‬
‫ﺍﻟﻮﻗﺖ ﺳﻴﺠﻠﺐ ﺍﻟﺮﺯﻕ ﻭﺍﻟﱪﻛﺔ ‪.‬‬
‫ﻭﰲ ﺍﻋﺘﻘﺎﺩﻫﻢ ﺃﻳﻀﺎ ﺃﻥ ﺍﻟﺘﻠﻔﻆ ﺑﻜﻠﻤﺔ ﺍﳌﻠﺢ ﺻﺒﺎﺣﺎ ﻓﻴﻬﺎ ﻧﺬﻳﺮ ﺷﺆﻡ ﻟﺬﻟﻚ ﺗﻌﻮﺿﻬﺎ ﺍﳉﻤﺎﻋﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﺑﻠﻔﻈﺔ "ﺍﻟﺮﺑﺢ"ﻛﻤﺎ ﻳﻄﻠﻘﻮﻥ ﻋﻠﻰ ﺍﻟﻨ‪‬ﺎﺭ ﺍﺳﻢ ﺍﻟﻌﺎﻓﻴﺔ ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﻄﺎﺟﲔ ﺍﺳﻢ "ﻓﺮ‪‬ﺍﺡ‬
‫ﻟﻌﻴﺎﻝ"ﻛﻤﺎ ﻳﻌﺘﱪ ﻳﻮﻡ ﺍﳉﻤﻌﺔ ﻳﻮﻣﺎ ﳑﻴ‪‬ﺰﺍ ﻷﻧﻪ ﻋﻴﺪ ﺍﳌﺴﻠﻤﲔ ﻓﻴﺴﺘﺤﺐ ﻓﻴﻪ ﺍﻟﻘﻴﺎﻡ ﺑﺎﻷﻋﻤﺎﻝ ﺍﳊﺴﻨﺔ‬
‫ﻭﻗﺮﺍﺀﺓ ﺍﻟﻘﺮﺁﻥ ﻭﺗﻘﺪﱘ ﺍﻟﺼﺪﻗﺎﺕ ‪ ،‬ﻭﻳﻜﺮﻩ ﻓﻴﻪ ﺣﺴﺐ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻓﺘﺮﺓ ﺍﻟﻌﺼﺮ ﻷﻧﻪ‬
‫ﺍﻟﻮﻗﺖ ﺍﻟﺬﻱ ﺗﻨﺘﺸﺮ ﻓﻴﻪ ﺍﳉﻦ ﻟﺬﻟﻚ ﻻ ﻳﺴﺘﺤﺐ ﻣﺸﻂ ﺷﻌﺮ ﺍﻟﻔﺘﻴﺎﺕ ﰲ ﺗﻠﻚ ﺍﻟﻮﻗﺖ ﺧﻮﻓﺎ ﻣﻦ‬
‫ﺗﺴﺎﻗﻄﻪ ﻷﻥ ﺍﳉﻨﻴﺎﺕ ﻗﺪ ﳛﺴﺪ‪‬ﺎ ﻋﻠﻴﻪ ‪.‬‬
‫ﻭﻛﺬﻟﻚ ﻳﻜﺮﻩ ﻣﺸﻄﻪ ﺃﺛﻨﺎﺀ ﺣﻔﺮ ﻗﱪ ﺍﳌﹼﻴﺖ ‪،‬ﻛﻤﺎ ﻳﻜﺮﻩ ﺍﻟﻨﻮﻡ ﰲ ﻣﺜﻞ ﻫﺬﺍ ﺍﻟﻮﻗﺖ ﺣﻴﺚ‬
‫ﺗﻘﻮﻝ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻦ ﺍﻟﻔﺎﻋﻞ "ﻣﺎ ﻳﺮﭬﺩ ﻣﻦ ﻭﺭﺍ ﺍﻟﻌﺼﺮ ﻏﲑ ﺍﳋﺎﺳﺮ" )‪.(4‬‬

‫)‪(1‬‬
‫ﻉ‪ ،‬ﻓﹾﻄﹶﻴ‪‬ﻤ‪‬ﺔ‪ :‬ﺍﻟﺮﺍﻭﻱ ﺍﻟﺴﺎﺑﻖ ‪.‬‬
‫)‪(2‬‬
‫ﻓﻮﺯﻱ ﺍﻟﻌﻨﺘﻴﻞ ‪ :‬ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻣﺎ ﻫﻮ ؟ ﺹ ‪.117‬‬
‫)‪(3‬‬
‫ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.119‬‬
‫)‪(4‬‬
‫ﻣﺜﻞ ﺷﻌﱯ ﻣﺸﻬﻮﺭ ﰲ ﺍﳌﻨﻄﻘﺔ ‪.‬‬
‫‪- 78 -‬‬
‫ﻭﺃﻳﻀﺎ ﺗﻨﻈﻴﻒ ﺍﻟﻔﻨﺎﺀ ﰲ ﻫﺬﺍ ﺍﻟﻮﻗﺖ ﳑﻨﻮﻉ ﻻﻋﺘﻘﺎﺩﻫﻢ ﺃﻥ ﺍﻷﻣﺮ ﺳﻴﺠﻠﺐ ﺍﻟﻔﻘﺮ ﻭﻛﺬﻟﻚ‬
‫ﻳ‪‬ﻤﻨﻊ ﺭﻣﻲ ﺍﳌﺎﺀ ﺍﻟﺴﺎﺧﻦ ﺑﺸﺪﺓ ﻋﻠﻰ ﺍﻷﺭﺽ ‪ ،‬ﺑﻞ ﻳﻠﻘﻰ ﺑﻌﺪ ﺍﻟﺒﺴﻤﻠﺔ ﻛﻤﺎ ﻻ ﳛﺒﺬ ﺍﳉﻠﻮﺱ ﻋﻠﻰ‬
‫ﻋﺘﺒﺔ ﺍﻟﺒﺎﺏ ‪.‬‬
‫ﺝ‪ -7-‬ﺍﻟﻌﺪﺩ ﺍﻟﻔﻮﻟﻜﻠﻮﺭﻱ ‪ :‬ﺗﻌﺘﻘﺪ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﻟﻌﺪﺩ ﺳﺒﻌﺔ ‪ 07‬ﺧﲑ‪‬ﺍ ﺩﻭﻥ ﻏﲑﻩ ﻣﻦ‬
‫ﺍﻷﻋﺪﺍﺩ ‪ ،‬ﻭﻫﻮ ﺷﺎﺋﻊ ﰲ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺍﻟﻴﻮﻣﻲ ‪ ،‬ﻭﺭﲟﺎ ﻳﻌﻮﺩ ﺍﻷﻣﺮ ﰲ ﺫﻟﻚ ﻟﻜﺜﺮﺓ ﻭﺭﻭﺩﻫﺎ ﰲ ﺍﻟﻘﹸﺮﺁﻥ‬
‫ﺍﻟﻜﺮﱘ ﻛﻘﻮﻟﻪ ﺗﻌﺎﱃ ‪َ :‬ﻭ‪‬ﻗﹶﺎﻝﹶ ﺍﻟﹾﻤ‪‬ﻠ‪‬ﻚ‪ ‬ﺇﹺﻧ‪‬ﻲ ﺃﹶﺭ‪‬ﻯ ﺳ‪‬ﺒ‪‬ﻊ‪ ‬ﺑ‪‬ﻘﹶﺮ‪‬ﺍﺕ‪ ‬ﺳ‪‬ﻤ‪‬ﺎﻥ‪ ‬ﻳ‪‬ﺄﹾﻛﹸﻠﹸﻬ‪‬ﻦ‪ ‬ﺳ‪‬ﺒ‪ ‬ﻊ ﻋ‪‬ﺠ‪‬ﺎﻑ‪ ‬ﻭ‪‬ﺳ‪‬ﺒ‪‬ﻊ‪‬‬
‫) ‪(1‬‬
‫ﻀﺮﹴ ﻭ‪‬ﺃﹸﺧ‪‬ﺮ‪ ‬ﻳ‪‬ﺎﺑﹺﺴ‪‬ﺎﺕ‪ ‬ﻳ‪‬ﺎ ﺃﹶﻳ‪‬ﻬ‪‬ﺎ ﺍﻟﹾﻤ‪‬ﻸُ ﺃﹶﻓﹾﺘ‪‬ﻮﻧﹺﻲ ﻓ‪‬ﻲ ﺭ‪‬ﺅ‪‬ﻳ‪‬ﺎﻱ‪ ‬ﺇﹺﻥ ﻛﹸﻨﺘ‪‬ﻢ‪ ‬ﻟ‪‬ﻠﺮ‪‬ﺅ‪‬ﻳ‪‬ﺎ ﺗ‪‬ﻌ‪‬ﺒ‪‬ﺮ‪‬ﻭﻥﹶ‪‬‬
‫ﺳ‪‬ﻨﺒ‪‬ﻼﹶﺕ‪ ‬ﺧ‪ ‬‬
‫ﻭﻗﻮﻟﻪ ﺗﻌﺎﱃ ‪ :‬ﺍﻟﱠﺬ‪‬ﻱ ﺧ‪‬ﻠﹶﻖ‪ ‬ﺳ‪‬ﺒ‪‬ﻊ‪ ‬ﺳ‪‬ﻤ‪‬ﺎﻭ‪‬ﺍﺕ‪ ‬ﻃ‪‬ﺒ‪‬ﺎﻗﺎﹰ ﻣ‪‬ﺎ ﺗ‪‬ﺮ‪‬ﻯ ﻓ‪‬ﻲ ﺧ‪‬ﻠﹾﻖﹺ ﺍﻟﺮ‪‬ﺣ‪‬ﻤ‪‬ﻦﹺ ﻣ‪‬ﻦ ﺗ‪‬ﻔﹶﺎﻭ‪‬ﺕ‪‬‬
‫) ‪(2‬‬
‫ﻓﹶﺎﺭ‪‬ﺟﹺﻊﹺ ﺍﻟﹾﺒ‪‬ﺼ‪‬ﺮ‪ ‬ﻫ‪‬ﻞﹾ ﺗ‪‬ﺮ‪‬ﻯ ﻣ‪‬ﻦ ﻓﹸﻄﹸﻮﺭﹴ ‪‬‬
‫ﻭﻣﻦ ﺍﻻﻋﺘﻘﺎﺩﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻻﺣﺘﻔﺎﻝ ﺑﺎﻟﻴﻮﻡ ﺍﻟﺴﺎﺑﻊ ﻣﻦ ﻣﻮﻟﺪ ﺍﻟﻄﻔﻞ ‪ ،‬ﻭﲢﻀﲑ ﺍﻟﻌﺸﺎﺀ ﺍﻟﺬﻱ‬
‫ﻳﻘﺪ‪‬ﻡ ﺻﺪﻗﺔ ﻋﻠﻰ ﺍﳌﻴ‪‬ﺖ ﰲ ﺍﻟﻴﻮﻡ ﺍﻟﺴﺎﺑﻊ ﻣﻦ ﻣﻮﺗﻪ ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻓﻜﺮﺓ "ﺗ‪‬ﺴﺒﻴﻊ ﺍﳌﻠﺢ" ﻟﻄﺮﺩ ﻋﲔ‬
‫ﺍﳊﺎﺳﺪ ‪.‬‬
‫ﺝ‪ -8-‬ﺍﻟﻠﻮﻥ ﺍﻟﻔﻮﻟﻜﻠﻮﺭﻱ‪ :‬ﺗﺮﻯ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺃﻥ ﺍﻷﻟﻮﺍﻥ ﺍﻟﻔﺎﲢﺔ ﻓﻴﻬﺎ ﺧﲑ‬
‫ﻛﺎﻷﺑﻴﺾ ﺍﻟﺬﻱ ﻳﺮﻣﺰ ﻟﻠﻄﻬﺎﺭﺓ ﻭﺍﻟﻨﻘﺎﺀ ﻭﺍﻷﺧﻀﺮ ﺍﻟﺬﻱ ﻳﺮﻣﺰ ﻟﻠﺤﻴﺎﺓ ﻭﺗﺘﻔﺎﺀﻝ ‪‬ﺎ ‪ ،‬ﺃﻣﺎ ﺍﻷﻟﻮﺍﻥ‬
‫ﺍﻟﻘﺎﲤﺔ ﻛﺎﻷﺳﻮﺩ ﻣﺜﻼ‪ .‬ﻓﻼ ﺧﲑ ﻓﻴﻬﺎ ﻭﺗﺘﺸﺎﺀﻡ ﻣﻨﻬﺎ ﻟﺬﻟﻚ ﺩﺍﺋﻤﺎ ﺗﻌﻤﺪ ﺍﳉﻤﺎﻋﺔ ﺇﱃ ﺍﺧﺘﻴﺎﺭ ﺍﻷﻟﻮﺍﻥ‬
‫ﺍﻟﺒﻴﻀﺎﺀ ﰲ ﻛﻞ ﺍﳌﺸﺘﺮﻳﺎﺕ ﻛﺎﻷﻟﺒﺴﺔ ﻣﺜﻼ ‪.‬‬
‫ﻭﻣﻦ ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﻨﺘﺸﺮﺓ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﺍﻟﱵ ﻻ ﻋﻼﻗﺔ ﳍﺎ ﺑﺪﻳﻨﻨﺎ ﻣﺎ ﻳﺴﻤ‪‬ﻰ‬
‫ﺑﺎﻟﻄﲑﺓ ﻣﺜﻼ‪ ،‬ﻓﻤﻦ ﺍﻷﺷﻴﺎﺀ ﺍﻟﱵ ﺗﺴﺘﻄﲑ ‪‬ﺎ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲰﺎﻉ ﺻﻮﺕ ﺍﻟﺒﻮﻣﺔ ﻭﺭﺅﻳﺔ ﺍﻟﻐﺮﺍﺏ‬
‫ﺍﻷﺳﻮﺩ ﺍﻟﻠﺬﺍﻥ ﻳﻨﺬﺭﺍﻥ ﺑﻮﺟﻮﺩ ﺍﳌﻮﺕ‪.‬ﻛﻤﺎ ﺗﺘﻔﺎﺀﻝ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺴﻤﺎﻉ ﺃﻟﻔﺎﻅ ﺫﺍﺕ ﺩﻻﻟﺔ‬
‫ﺗﺒﻌﺚ ﻋﻠﻰ ﺍﻻﻃﻤﺌﻨﺎﻥ ﺧﺎﺻﺔ ﻭﻗﺖ ﺍﻟﺼﺒﺎﺡ‪،‬ﻛﺎﺳﻢ ﺍﻟﺮﺑﺢ ﻭﻣﺒﺎﺭﻛﺔ ﻭﺧﲑﺓ‪ ،‬ﻭﺳﻌﻴﺪﺓ‪ ،‬ﻭﺍﻟﺴﻌﻴﺪ ‪،‬‬
‫ﻭﺻﺎﱀ ﻭﻏﲑﻫﺎ ‪.‬‬
‫ﻭﻣﻦ ﺍﻷﺷﻴﺎﺀ ﺍﻟﱵ ﻳ‪‬ﺘﻔﺎﺀﻝ ‪‬ﺎ ﺃﻳﻀﺎ ﲰﺎﻉ ﺻﻮﺕ ﺍﻟﺪﻳﻚ ‪ ،‬ﺍﻗﺘﺪﺍﺀ ﺑﻘﻮﻟﻪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ‬
‫) ‪(3‬‬
‫ﻭﺳﻠﻢ‪»:‬ﺇﹺﺫﹶﺍ ﺳ‪‬ﻤ‪‬ﻌ‪‬ﺘ‪‬ﻢ‪ ‬ﺻ‪‬ﻴ‪‬ﺎﺡ‪ ‬ﺍﻟﺪ‪‬ﻳ‪‬ﻜﺔ‪ ،‬ﻓﹶﺎﺳ‪‬ﺄﹶﻟﹸﻮﺍ ﺍﷲَ ﻣ‪‬ﻦ‪ ‬ﹶﻓﻀ‪‬ﻠ‪‬ﻪ‪ ‬ﻓﹶﺈﹺﻧ‪‬ﻬ‪‬ﺎ ﺭ‪‬ﺃﹶﺕ‪ ‬ﻣ‪‬ﻠﹶﻜﹰﺎ «‬

‫)‪(1‬‬
‫ﺍﻵﻳﺔ ‪ ، 43‬ﻣﻦ ﺳﻮﺭﺓ ﻳﻮﺳﻒ ‪.‬‬
‫)‪(2‬‬
‫ﺍﻵﻳﺔ ‪ 03‬ﻣﻦ ﺳﻮﺭﺓ ﺍﳌﻠﻚ ‪.‬‬
‫)‪(3‬‬
‫ﺃﺑﻮ ﺍﳊﺴﻦ ﻣﺴﻠﻢ ﺑﻦ ﺣﺠﺎﺝ ﺑﻦ ﻣﺴﻠﻢ ﺍﻟﻘﺸﺮﻱ ﺍﻟﻨﻴﺴﺎﺑﻮﺭﻱ ‪ :‬ﺻﺤﻴﺢ ﻣﺴﻠﻢ ﺍﳌﺴﻤﻰ ﺍﳉﺎﻣﻊ ﺍﻟﺼﺤﻴﺢ ‪،‬ﻁ‪2001 ،1‬ﻡ ‪ ،‬ﺹ ‪.120-119‬‬
‫‪- 79 -‬‬
‫ﻭﻣﻦ ﺍﻟﺴﻠﻮﻛﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ‪ ،‬ﺗﻮﻗﻊ ﻭﺻﻮﻝ ﺿﻴﻮﻑ ﺇﺫﺍ ﺷﻌﺮﺕ ﺭﺑﻪ ﺍﻟﺒﻴﺖ ﲝﻜﹼﺔ ﰲ ﺷﻔﺘﻴﻬﺎ ‪،‬‬
‫ﺃﻭ ﻋﻨﺪﻣﺎ ﺗﺘﻨﺎﺛﺮ ﻗﻄﻌﺔ ﻣﻦ ﺍﻟﻌﺠﲔ ﺃﺛﻨﺎﺀ ﺩﻟﻜﻬﺎ ﻟﻪ‪ ،‬ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻥ ﺭﺏ‪ ‬ﺍﻷﺳﺮﺓ ﻣﺴﺎﻓﺮﺍ ﻓﺈﻥﹼ ﺃﺣﺪ ﺃﻓﺮﺍﺩ‬
‫ﺍﻟﻌﺎﺋﻠﺔ ﻳﻄﻠﺐ ﻣﻦ ﺍﻟﻄﻔﻞ ﺍﻟﺼﻐﲑ ﺃﻥ ﳛﻚ‪ ‬ﺭﺃﺳﻪ ﻓﺈﻥ ﺣﻜﻪ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﻧﺎﺻﻴﺘﻪ ﻓﺈﻥﹼ ﻣﻮﻋﺪ ﺍﻟﻌﻮﺩﺓ‬
‫ﻗﺮﻳﺐ ‪ ،‬ﻭﺇﻥ ﺣﻚ‪ ‬ﺍﻟﻘﻔﺎ ﻓﺈﻥ ﺯﻣﻦ ﺍﻟﻌﻮﺩﺓ ﺑﻌﻴﺪ ‪.‬‬
‫ﻛﻤﺎ ﺗﻌﺘﻘﺪ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻳﻀﺎ ﺃﻥﹼ ﻣﻦ ﻭﻗﻌﺖ ﻟﻪ ﺣﻜﹼﺔ ﰲ ﻛﻔﹼﻪ ﺍﻷﳝﻦ ﺳﻴ‪‬ﺨ‪‬ﺮﹺﺝ ﻣﺎﻻﹰ ‪،‬‬
‫ﻭﻣﻦ ﻛﺎﻧﺖ ﺍﳊﻜﹼﺔ ﻋﻨﺪﻩ ﰲ ﺍﻟﻜﻒ ﺍﻷﻳﺴﺮ ﺳﺘﺪﺧﻞ ﻟﻪ ﺍﻷﻣﻮﺍﻝ ﻭﺍﻷﺭﺯﺍﻕ‪ ،‬ﻭ ﺗ‪‬ﺨ‪‬ﻄﹼﻲ ﺍﻟﻨﺎﺋﻢ‬
‫ﺣﺴﺒﻬﻢ ﻳﻨﻘﺺ ﻣﻦ ﻋﻤﺮﻩ‪... ،‬ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﺍﳌﻈﺎﻫﺮ ﺍﳉﻐﺮﺍﻓﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﻟﻔﻮﻟﻜﻠﻮﺭﻳﺔ ﳌﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺷﻜﹼﻠﺖ‬
‫ﺗﻜﺎﻣﻼ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻭﺃﻋﻄﺖ ﺻﻮﺭﺓ ﺣﻘﻴﻘﻴﺔ ‪‬ﺘﻤﻊ ﻣﺴﻴﻠﻲ ﺻﻐﲑ ﻫﻮ ﺟﺰﺀ ﻣﻦ ﺍ‪‬ﺘﻤﻊ ﺍﻟﻜﺒﲑ ﺍﻟﺬﻱ‬
‫ﲤﺜﹼﻠﻪ ﺍﳉﺰﺍﺋﺮ‪.‬‬
‫ﻭﻗﺪ ﻟﻌﺐ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳊﻀﲏ‪ ،‬ﺩﻭﺭﺍ ﻫﺎﻣ‪‬ﺎ‪ ،‬ﰲ ﺻﻘﻞ ﺍﳉﻮﺍﻧﺐ ﺍﻟﺴﺎﺑﻘﺔ ﻭﺗﻮﺟﻴﻬﻬﺎ‬
‫ﺍﻟﻮﺟﻬﺔ ﺍﻟﺼﺤﻴﺔ‪ ،‬ﺇﺫ ﻟﻮﻻﻩ ﻣﺎ ﻛﺎﻥ ﻟﺘﺎﺭﻳﺦ ﺍﳌﺴﻴﻠﺔ ﻭﺟﻮﺩ‪ ،‬ﻭﻻ ﻟﻔﻠﻜﻠﻮﺭﻫﺎ ﺃﻳﻀﺎ‪.‬‬

‫‪- 80 -‬‬
 ‫اﻟﻔﺻل اﻟﺛﺎﻧﻲ‬
‫طﺎﺑﻊ اﻟﺣﻛﻲ اﻟﺷﻌﺑﻲ ﻓﻲ‬
‫اﻟﻣﻧطﻘﺔ‬
‫أوﻻ ‪ -‬إﺷﻛﺎﻟﯾﺔ ﺗﺻﻧﯾف اﻟﻘﺻص اﻟﺷﻌﺑﻲ‪.‬‬
‫ﺛﺎﻧﯾﺎ ‪ -‬واﻗﻊ اﻟﺣﻛﻲ اﻟﺷﻌﺑﻲ ﻓﻲ اﻟﻣﻧطﻘﺔ‪.‬‬
‫ﺛﺎﻟﺛﺎ‪ -‬ﻣوﺿوﻋﺎت اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‪.‬‬
‫راﺑﻌ ﺎ‪ -‬وظ ﺎﺋف اﻟﺣﻛﺎﯾ ﺔ اﻟﺷ ّ ﻌﺑﯾﺔ ﻟ دى‬
‫اﻹﻧﺳﺎن‬
‫اﻟﺷﻌﺑﻲ ﻓﻲ اﻟﻣﻧطﻘﺔ‪.‬‬

‫‪- 81 -‬‬
 ‫أوﻻ ‪ -‬إﺷﻜﺎﻟﻴﺔ ﺗﺼﻨﻴﻒ اﻟﻘﺼﺺ اﻟﺸﻌﺒﻲ‬
‫ﻛﺜﲑﺓ ﻫﻲ ﺍﻹﺷﻜﺎﻟﻴﺎﺕ ﺍﻟﱵ ﺗﻮﺍﺟﻪ ﺍﻟﺒﺎﺣﺚ ﺍﻟﺸﻌﱯ ﺃﺛﻨﺎﺀ ﲝﺜﻪ‪ ،‬ﺃﹸﻭﻻﻫﺎ ﺗﻠﻚ ﺍﳌﺘﻌﻠﻘﺔ‬
‫ﺑﺎﳌﺼﻄﻠﺢ ﻧﻔﺴﻪ‪ ،‬ﺃﻭ ﺍﻟﺘﺴﻤﻴﺔ ﺍﻟﻌﻠﻤﻴﺔ ﺍﶈﹸﺪ‪ّ‬ﺩﺓ ﻟﺸﻜﻞ ﺍﻟﺘﻌﺒﲑ ﺍﻟﺸﻌﱯ‪ ،‬ﻓﺘﺘﺒﺎﺩﺭ ﰲ ﺫﻫﻦ ﺍﻟﺒﺎﺣﺚ‬
‫ﺗﺴﻤﻴﺎﺕ ﺃﻭ ﻣﺼﻄﻠﺤﺎﺕ ﻋﺪﺓ‪ ،‬ﻳﺼﻌﺐ ﻋﻠﻴﻪ ﺇﺳﻘﺎﻁ ﺃﻱ‪ ‬ﻣﻨﻬﺎ ﻋﻠﻰ ﺍﻟﻠﻮﻥ ﺍﻷﺩﰊ ﺍﳌﺪﺭﻭﺱ‪.‬‬
‫ﻓﻬﻞ ﻳ‪‬ﻄﻠﻖ ﻋﻠﻴﻬﺎ ﺍﺳﻢ ﺟﻨﺲ‪ ،‬ﺃﻡ ﻧﻮﻉ‪ ،‬ﺃﻡ ﻓﻦ‪ ،‬ﺃﻡ ﻏﺮﺽ؟‬
‫ﻟﻘﺪ ﺍﲣﺬ ﻛﻞ ﻣﺼﻄﻠﺢ ﻣﻦ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺪﻟﻮﻻﺕ ﺍﻟﱵ ﻏﻠﺐ ﻋﻠﻴﻬﺎ‬
‫ﺍﻟﺘﻌﻤﻴﻢ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﻭﺍﳋﻠﻂ ﰲ ﺑﻌﻀﻬﺎ ﺍﻵﺧﺮ‪ ،‬ﻓﻤﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ)‪:(1‬‬
‫ﻣﺼﻄﻠﺢ ﺟﻨﺲ ﺃﻭﱃ ﺑﺎﻻﺳﺘﻌﻤﺎﻝ ﻣﻦ ﺑﺎﻗﻲ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻷﺧﺮﻯ‪ ،‬ﻓﺎﻟﺸﻌﺮ ﺟﻨﺲ ﺃﺩﰊ ﻛﻤﺎ‬
‫ﺍﳋﻄﺎﺑﺔ ﺃﻭ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﺗﻨﻀﻮﻱ ﲢﺘﻪ ﺃﻧﻮﺍﻉ ﻫﻲ‪ :‬ﺍﳌﺪﺡ ﻣﺜﻼ ﺃﻭ ﺍﳍﺠﺎﺀ ﺃﻭ ﺍﻟﺮﺛﺎﺀ ﺃﻭ ﻏﲑ ﺫﻟﻚ ﻣﻦ‬
‫ﺍﻷﻧﻮﺍﻉ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﻭﻳﻌﺘﱪ ﰲ ﻣﻮﺿﻊ ﺁﺧﺮ ﺃﻥ ﻣﺼﻄﻠﺢ ﺟﻨﺲ ﺃﻋﻢ ﻣﻦ ﻣﺼﻄﻠﺢ ﻧﻮﻉ‪ ،‬ﺷﺎﻓﻌﺎ ﺗ‪‬ﺮﺍﺗﺒﻪ ﻫﺬﺍ ﲟﺎ‬
‫ﺃﻭﺭﺩﻩ ﺻﺎﺣﺐ ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ ﰲ ﻣﺎﺩﺓ ﺟﻨﺲ‪ ،‬ﻭﺃﺑﻌﺪ ﻣﺼﻄﻠﺤﻲ ﻓﻦ ﻭﻏﺮﺽ ﻻﻋﺘﻘﺎﺩﻩ ﺃﻥ ﳎﺎﻻﺕ‬
‫ﺍﺳﺘﻌﻤﺎﳍﻤﺎ ﻏﲑ ﻫﺬﺍ ﺍ‪‬ﺎﻝ )‪.(2‬‬
‫ﺇﻥﹼ ﺍﳌﺪﻟﻮﻝ ﺍﻟﺬﻱ ﲢﻤﻠﻪ ﻟﻔﻈﺔ ﺟﻨﺲ ﻫﻮ ﻣﺪﻟﻮﻝ ﻋﺎﻡ‪ ،‬ﻷ‪‬ﺎ ﲤﺜﹼﻞ ﳏﺘﻮﻯ ﻷﻧﻮﺍﻉ ﻛﺜﲑﺓ‬
‫ﻭﻣﺘﻌﺪﺩﺓ‪ ،‬ﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﺗﺎﺑﻌﺔ ﳉﻨﺲ ﻭﺍﺣﺪ‪"،‬ﻭﳌﹼﺎ ﻛﺎﻥ ﺍﳉﻨﺲ ﺍﲰ‪‬ﺎ ﺟﺎﻣﻌ‪‬ﺎ ﻷﻧﻮﺍﻉ ﻣﺘﻌﺪﺩﺓ‬
‫ﻣﺸﺘﺮﻛﺔ ﻣﻦ ﺣﻴﺚ ﺍﻧﺘﻤﺎﺋﻬﺎ ﺇﱃ ﺟﻨﺲ ﳏﺪﺩ‪ ،‬ﻛﺎﻧﺖ ﺍﳉﻨﺴﻴﺔ ﻫﻲ ﺍﳋﺎﺻﻴﺔ ﺍﻟﺜﺎﺑﺘﺔ ﺍﻟﱵ ﲡﻌﻞ ﺃﻧﻮﺍﻋ‪‬ﺎ‬
‫) ‪(3‬‬
‫ﻣﺘﻌﺪﺩﺓ ﺗﻨﺪﺭﺝ ﺿﻤﻦ ﺟﻨﺲ ﻣﻌﻴ‪‬ﻦ "‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﰲ ﻧﻈﺮﻳﺔ ﺍﻟﺮﻭﺍﻳﺔ ‪ ،‬ﲝﺚ ﰲ ﺗﻘﻨﻴﺎﺕ ﺍﻟﺴﺮﺩ‪ ،‬ﻋﺎﱂ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﺍﻟﻜﻮﻳﺖ‪) ،‬ﺩ ﻁ(‪1998 ،‬ﻡ‪،‬ﺹ‪.23 ،22‬‬
‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.306‬‬
‫)‪ (3‬ﺳﻌﻴﺪ ﻳﻘﻄﻦ‪ :‬ﻗﺎﻝ ﺍﻟﺮﺍﻭﻱ ﺍﻟﺒﻨﻴﺎﺕ ﺍﳊﻜﺎﺋﻴﺔ ﰲ ﺍﻟﺴﲑﺓ ﺍﻟﺸﻌﺒﻴﺔ‪) ،‬ﺩ ﻁ(‪،‬ﺹ ‪.12 ،11‬‬
‫‪- 82 -‬‬
‫ﻟﺬﻟﻚ ﳒﺪ ﳏﻤﺪ ﻏﻨﻴﻤﻲ ﻫﻼﻝ ﻭﺁﺧﺮﻳﻦ ﻳﻄﻠﻘﻮﻥ ﻣﺜﻼ ﻋﻠﻰ ﺍﳋﺮﺍﻓﺔ ﲰﺔ ﺟﻨﺲ ﺃﺩﰊ )‪ ،(1‬ﰲ‬
‫ﺣﲔ ﻻ ﺗﻌﺪﻭ ﺃﻥ ﺗﻜﻮﻥ ﳕﻄﺎ ﺃﻭ ﻧﻮﻋ‪‬ﺎ ﻋﻨﺪ ﺁﺧﺮﻳﻦ‪ ،‬ﻭﻟﻌﻠﻬﺎ ﻋﻨﺪ ﺍﻟﺒﻌﺾ ﻻ ﻫﺬﺍ ﻭﻻ ﺫﺍﻙ ﺑﻘﺪﺭ ﻣﺎ‬
‫ﻫﻲ ﻣﻮﺿﻮﻉ ﻣﻦ ﻣﻮﺿﻮﻋﺎﺕ ﳐﺘﻠﻔﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪.‬‬

‫ﺇﻥﹼ ﻋﻤﻠﻴﺔ ﺗﺼﻨﻴﻒ ﺍﳌﺎﺩﺓ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻭ ﲡﻨﻴﺴﻬﺎ ﺗﻌﺪ‪ ‬ﻋﻘﺒﺔ ﺗﺘﺤﺪ‪‬ﻯ ﺟﻬﺪ ﺍﻟﺒﺎﺣﺚ ﺍﻟﺸﻌﱯ‬
‫ﻭﺳﻌﻴﻪ ﰲ ﻋﻤﻠﻴﺔ ﻓﺮﺯﻫﺎ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻃﺮﺡ ﰲ ﺃﻧﻔﺴﻬﺎ ﺍﻟﺘﺴﺎﺅﻝ ﻋﻦ ﺟﻨﺴﻴﺔ ﺧﻄﺎﺏ ﺍﳊﻜﺎﻳﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ‪ .‬ﻫﻞ ﻫﻲ ﻧﻮﻉ ﻣﻦ ﲨﻠﺔ ﺗﻔﺮﻳﻌﺎﺕ ﺟﻨﺲ ﺃﺩﰊ ﻣﺎ ﺃﻡ ﺃﻥ ﺗﺼﻨﻴﻔﻬﺎ ﻗﺎﺋﻢ ﻋﻠﻰ ﲨﻠﺔ ﻋﻨﺎﺻﺮ‬
‫ﺗﺪﺧﻞ ﰲ ﺑﻨﺎﺀ ﻫﻴﻜﻠﻬﺎ ﺍﻟﻌﺎﻡ‪.‬‬
‫ﻭﺑﺬﻟﻚ ﻋﺪﺕ "ﻣﺴﺄﻟﺔ ﺗﺼﻨﻴﻒ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﳌﺸﺎﻛﻞ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﱵ ﺗﻌﺘﺮﺽ ﺩﺍﺭﺱ‬
‫ﻫﺬﺍ ﺍﻟﻠﻮﻥ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﺍﻟﺸﻌﱯ " )‪.(2‬‬
‫ﻟﻘﺪ ﺃﺷﺎﺭ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ ﻭﺍﳌﺘﺨﺼﺼﲔ ﺣﻴﻨﻤﺎ ﺩﺭﺳﻮﺍ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺇﱃ ﻫﺬﺍ ﺍﻹﺷﻜﺎﻝ‬
‫ﻭﻣﻦ ﺑﻴﻨﻬﻢ ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ )‪ ،(3‬ﺍﻟﱵ ﺍﺷﺘﻌﺮﺕ ﻫﺬﻩ ﺍﻟﺼﻌﻮﺑﺔ‪ ،‬ﺣﻴﺚ ﺃﺷﺎﺭﺕ ﺇﱃ ﺗﺼﻨﻴﻔﲔ ﺃﺣﺪﳘﺎ‬
‫ﻳﻘﻮﻡ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﶈﺘﻮﻯ ﺃﻭ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻭﻳﺪﻋﻰ ﺗﺼﻨﻴﻒ" ﺁﺭﻥ ﺗﻮﻣﺴﻮﻥ"‪ ،‬ﻭﺍﻟﺜﺎﱐ ﻋﻠﻰ ﺃﺳﺎﺱ‬
‫ﺍﻟﻨﻮﻉ ﻭﺍﻟﺬﻱ ﺫﹶﻛﺮ‪‬ﺕ‪ ‬ﻣﻦ ﺃﻣﺜﻠﺘﻪ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻭﺣﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ‪ ،‬ﻭﻟﻜﻦ ﺳﺮﻋﺎﻥ ﻣﺎ ﺳﻌﺖ‬
‫ﺇﱃ ﺗﻘﻴﻴﺪﻫﺎ‪ ،‬ﻣﻌﺘﱪﺓ ﺃﻥ ﺃﺣﺴﻦ ﺗﺼﻨﻴﻒ ﻧﻮﻋﻲ ﻫﻮ ﺗﺼﻨﻴﻒ ﺍﻟﺒﺎﺣﺚ ﺍﻵﳌﺎﱐ )ﻓﻮﻧﺪﺕ(‬
‫‪ ،w.wundt‬ﻣﻦ ﺧﻼﻝ ﺗﻘﺴﻴﻤﻪ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺇﱃ ﺃﻧﻮﺍﻉ ﻫﻲ‪:‬‬
‫‪ -1‬ﺍﻟﻔﺎﺑﻮﻻﺕ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺔ ‪.‬‬
‫‪ -2‬ﺣﻜﺎﻳﺎﺕ ﺍﻟﺴﺤﺮ ﺍﳋﺮﺍﻓﻴﺔ ﺍﻟﺼﺮﻑ‪.‬‬
‫‪ -3‬ﺍﳋﺮﺍﻓﺎﺕ ﻭﺍﻟﻔﺎﺑﻮﻻﺕ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﺔ‬
‫‪ -4‬ﻓﺎﺑﻮﻻﺕ ﺍﳊﻴﻮﺍﻧﺎﺕ‬
‫‪ -5‬ﺣﻜﺎﻳﺎﺕ ﺃﺻﻮﻝ ﺍﻟﻘﺒﺎﺋﻞ ﻭﺍﻟﺸﻌﻮﺏ‬

‫)‪ (1‬ﳏﻤﺪ ﻏﻨﻴﻤﻲ ﻫﻼﻝ‪ :‬ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻌﻮﺩﺓ‪ ،‬ﺑﲑﻭﺕ‪،1983 ،‬ﺹ‪.181 ،180‬‬
‫)‪ (2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪،‬ﺹ‪.63‬‬
‫)‪ (3‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪،‬ﺹ‪.16 ،15 ،11‬‬
‫‪- 83 -‬‬
 ‫‪ -6‬ﺣﻜﺎﻳﺎﺕ ﻫﺰﻟﻴﺔ ﺧﺮﺍﻓﻴﺔ ﻭﻓﺎﺑﻮﻻﺕ ﻫﺰﻟﻴﺔ‬
‫‪ -7‬ﻓﺎﺑﻮﻻﺕ ﺃﺧﻼﻗﻴﺔ ‪.‬‬
‫) ‪(1‬‬
‫ﺑﺄﻧﻮﺍﻉ ﻫﺎﺋﻠﺔ ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ‪ ،‬ﺃﺛﻨﺎﺀ ﺩﺭﺍﺳﺘﻬﺎ ﻟﻠﻘﺼﺔ‬ ‫ﻭﻗﺪ ﻓﻮﺟﺌﺖ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻮﻝ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭﻟﺘﻘﻴ‪‬ﺪ ﻫﺬﺍ ﺍﻟﻜﻢ ﺍﳍﺎﺋﻞ ﺍﻗﺘﺮﺣﺖ ﺗﺼﻨﻴﻔﺎ ﺍﻋﺘﻤﺪﺕ ﻓﻴﻪ‬
‫ﺍﻟﺒﺎﺣﺜﺔ ﻋﻠﻰ ﺛﻼﺛﺔ ﻋﻨﺎﺻﺮ ﻫﻲ‪:‬‬
‫‪ -1‬ﺣﺠﻢ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺍﻟﺬﻱ ﺃﺗﺎﺣﻪ ﺳﻌﻴﻬﺎ ﰲ ﺍﻹﻃﻼﻉ ﻋﻠﻴﻪ‪،‬ﻭﻣﻨﻪ ﺍﻟﻄﻮﻳﻞ ﻭﺍﻟﻘﺼﲑ‪.‬‬
‫‪ -2‬ﺍﻟﻔﻜﺮﺓ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻟﱵ ﻫﻲ ﻣﺪﺍﺭ ﻟﻠﺤﻮﺍﺩﺙ ﺍﻟﺴﺮﺩﻳﺔ ‪.‬‬
‫‪ -3‬ﺍﻟﺸﺨﻮﺹ ﺍﳌﻨﺎﻁ ‪‬ﺎ ﰲ ﻋﻤﻠﻴﺔ ﺍﻟﺴﺮﺩ‪.‬‬
‫ﺃﻣ‪‬ﺎ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ ،‬ﻓﻘﺪ ﻻﺣﻆ ﰲ ﻣﻌﺮﺽ ﺣﺪﻳﺜﻪ ﻋﻦ ﻫﺬﺍ ﺍﻟﺘﺼﻨﻴﻒ" ﺃﻥ ﺍﻟﻄﻮﻝ ﺃﻭ‬
‫ﺍﻟﻘﺼﺮ ﻫﻲ ﺍﻟﺴﻤﺔ ﺍﻟﺸﻜﻠﻴﺔ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ ﺭ‪‬ﻭﻋﻴﺖ ﰲ ﻫﺬﺍ ﺍﻟﺘﺼﻨﻴﻒ ﻭﻫﻲ ﲰﺔ ﻻ ﳝﻜﻦ ﺍﻋﺘﻤﺎﺩﻫﺎ‬
‫ﺃﺳﺎﺳ‪‬ﺎ ﻟﻠﺘﺼﻨﻴﻒ‪ (2) ".‬ﻭﻧﻔﺲ ﺍﳌﻮﻗﻒ ﻭﻗﻔﻪ ﻣﻦ ﺍﻟﻌﻨﺼﺮﻳﻦ ﺍﻵﺧﺮﻳﻦ )ﺍﶈﺘﻮﻯ‪ ،‬ﺍﻟﻮﻇﻴﻔﺔ(‪ ،‬ﻛﻤﺎ‬
‫ﻭﺻﻔﻪ ﻏﲑﻩ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ‪ ،‬ﻷﻥ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﺘﺼﻨﻴﻒ ﻣﻈﻠﻞ ﻭﻳﺆﺩﻱ ﺇﱃ ﻣﺰﺍﻟﻖ ﻋﺪﻳﺪﺓ‪.‬‬
‫) ‪(3‬‬
‫ﰲ ﺗﺼﻨﻴﻔﻬﺎ ﺑﲔ ﺍﳊﻜﺎﻳﺘﲔ ﺍﳋﺮﺍﻓﻴﺔ ﻭﺍﻟﺸﻌﺒﻴﺔ )ﻗﺼﺔ‬ ‫ﻓﻔﻲ ﺣﲔ ﲨﻌﺖ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‬
‫ﺍﳋﺮﺍﻓﺔ(‪ ،‬ﻓﺼﻞ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ ﰲ ﺗﺼﻨﻴﻔﻪ ﺑﻴﻨﻬﻤﺎ )ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ( ﺣﻴﺚ‬
‫ﺍﻋﺘﱪ ﺃﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﺮﺩ ﻏﺎﻟﺒﺎ ﰲ ﺳﻴﺎﻕ ﺿﺮﺏ ﺍﳌﺜﻞ ﻟﻐﺎﻳﺔ ﺃﺧﻼﻗﻴﺔ‪.‬‬
‫ﺃﻣﺎ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﻓﺘﻤﺜﻞ ﰲ ﻧﻈﺮﻩ " ﺃﺣﺪﺍﺛﺎ ﻋﺠﻴﺒﺔ ﺣﺪﺛﺖ ﰲ ﺳﺎﻟﻒ ﺍﻟﺰ‪‬ﻣﺎﻥ ‪ ،‬ﻭﻣﻦ ﰒﹼ ﻓﺈﻥ‬
‫ﺍﻟﺴﺆﺍﻝ ﻋﻦ ﻣﺪﻯ ﺻﺪﻗﻬﺎ ﺳﺆﺍﻝ ﻏﲑ ﻭﺍﺭﺩ‪ (4) "...‬ﻭﺍﻟﺒﻌﺾ ﻳﻠﺒﺴﻮﻥ ﻣﻌﲎ ﺍﳋﺮﺍﻓﺔ ﲟﻌﲎ‬
‫) ‪(5‬‬
‫ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻭﺭﲟﺎ ﻣﻌﲎ ﺍﻷﺳﻄﻮﺭﺓ ﲟﻌﲎ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ "‬
‫ﻟﻘﺪ ﺍﲡﻬﺖ ﻟﻴﻠﻰ ﻗﺮﻳﺶ ﺇﱃ ﺗﻘﺴﻴﻢ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﺒﻌ‪‬ﺎ ﳌﻮﺿﻮﻋﻬﺎ ﻭﻫﺪﻓﻬﺎ ﺇﱃ ﻗﺴﻤﲔ‪:‬‬
‫ﻗﺼﺔ ﻭﺍﻗﻌﻴﺔ‪ ،‬ﻭﺃﺧﺮﻯ ﺧﺮﺍﻓﻴﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ )‪.(1‬‬

‫)‪ (1‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ‪،‬ﺹ‪.92‬‬
‫)‪ (2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ ‪ ،‬ﺹ‪.66‬‬
‫)‪ (3‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪.186 ،184 ،117‬‬
‫)‪ (4‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.131‬‬
‫)‪ (5‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ ﻋﻨﺪ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﺭﺍﺳﺔ ‪‬ﻤﻮﻋﺔ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﻭﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﺘﻮﻧﺴﻴﺔ‪،‬ﺟﺎﻣﻌﺔ ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‪.‬ﻁ( ‪2003‬ﻡ‬
‫ﺹ‪.133‬‬
‫‪- 84 -‬‬
‫ﻛﻤﺎ ﺭﺑﻄﺖ ﺍﻟﺒﺎﺣﺜﺔ ﺍﳋﺮﺍﻓﺔ ﺑﺎﻷﺳﻄﻮﺭﺓ ﺇﺫﹾ ﳘﺎ ﻛﻠﻤﺘﺎﻥ ﻛﺜﲑﺍ ﻣﺎ ﺗﺘﺮﺩ‪‬ﺩﺍﻥ ﻋﻠﻰ ﺍﻷﻟﺴﻦ‪ ،‬ﻛﻤﺎ‬
‫ﳝﺜﹼﻼﻥ ﻋﻨﺪ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﻨﺎﺱ ﻟﻔﻈﺘﲔ ﻣﺘﺮﺍﺩﻓﺘﲔ ﻻ ﻓﺮﻕ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻷ‪‬ﺎ ﻳﺼﻮﺭﺍﻥ ﺍﻟﺸﻲﺀ ﺍﻟﺒﻌﻴﺪ ﻋﻦ‬
‫ﺍﳌﻨﻄﻖ ﻭﺍﳌﻌﻘﻮﻝ ‪.‬‬
‫ﻏﲑ ﺃﻥ ﺩﺭﺍﺳﺘﻨﺎ ﻟﻸﻧﻮﺍﻉ ﺍﻷﺩﺑﻴﺔ ﲢﺘ‪‬ﻢ ﻋﻠﻴﻨﺎ ﺍﻟﺘﻔﺮﻳﻖ ﺑﲔ ﺍﻷﺳﻄﻮﺭﺓ ﻭﺍﳋﺮﺍﻓﺔ‪ ،‬ﺭﻏﻢ ﺃ‪‬ﻤﺎ‬
‫ﳛﻘﻘﺎﻥ ﰲ ﺍﻟﻐﺎﻟﺐ ﻫﺪﻓﺎ ﻭﺍﺣﺪ‪‬ﺍ‪ ،‬ﻫﻮ ﺇﻋﺎﺩﺓ ﺍﻟﻨﻈﺎﻡ ﻟﻠﺤﻴﺎﺓ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﻓﺈﻥ ﺍﻷﺳﻄﻮﺭﺓ ﺗﻨﺘﻤﻲ ﺇﱃ‬
‫ﺳﻠﻮﻙ ﺭﻭﺣﻲ ﺁﺧﺮ ﻏﲑ ﺍﻟﺬﻱ ﺗﻨﺘﻤﻲ ﺇﻟﻴﻪ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ " ﻓﺎﻷﺳﻄﻮﺭﺓ ﳏﺎﻭﻟﺔ ﻟﻔﻬﻢ ﺍﻟﻜﻮﻥ‬
‫ﺑﻈﻮﺍﻫﺮﻩ ﺍﳌﺘﻌﺪﺩﺓ‪ ،‬ﺃﻭ ﻫﻲ ﺗﻔﺴﲑ ﻟﻪ‪ ،‬ﺇ‪‬ﺎ ﻧﺘﺎﺝ ﻭﻟﻴﺪ ﺍﳋﻴﺎﻝ ﻭﻟﻜﻨﻬﺎ ﻻ ﲣﻠﻮ ﻣﻦ ﻣﻨﻄﻖ ﻣﻌﻴ‪‬ﻦ ﻭﻣﻦ‬
‫) ‪(2‬‬
‫ﻓﻠﺴﻔﺔ ﺃﻭ‪‬ﻟﻴﺔ ﺗﻄﻮﺭ ﻋﻨﻬﺎ ﺍﻟﻌﻠﻢ ﻭﺍﻟﻔﻠﺴﻔﺔ ﻓﻴﻤﺎ ﺑﻌﺪ "‬
‫ﺇﻥﹼ ﻫﺬﺍ ﺍﳌﻔﻬﻮﻡ ﻳﻌﻜﺲ ﺃﳘﻴﺔ ﺍﻷﺳﻄﻮﺭﺓ ﻛﻔﻦ ﺃﺩﰊ ﻗﺪﱘ‪،‬ﻣﺮﺗﺒﻂ ﺑﻨﺸﺄﺓ ﺍﻟﻜﻮﻥ ﻭﺍﻹﻧﺴﺎﻥ ﻓﻴﻪ‪،‬‬
‫ﻛﻤﺎ ﻛﺎﻧﺖ ﺑﺎﻋﺜﺎ ﻋﻠﻰ ﺍﺯﺩﻫﺎﺭ ﺍﻟﻌﻠﻢ ﻭﺗﻄﻮﺭﻩ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﻭﻣﺜﻠﺚ ﰲ ﻭﻗﺖ ﺳﺎﺑﻖ ﻭﺍﺣﺪﺓ ﻣﻦ ﺃﻫﻢ‬
‫ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﻨﻔﺴﻴﺔ ﺍﳌﺴﺎﻋﺪﺓ ﺍﻟﱵ ﻋﺒ‪‬ﺮ ﻣﻦ ﺧﻼﳍﺎ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﻟﺒﺪﺍﺋﻲ ﻋﻦ ﻣﻜﻨﻮﻧﺎﺕ ﻭﺭﻏﺒﺎﺕ‬
‫ﺩﺍﺧﻠﻴﺔ ﺃﺛﻘﻠﺖ ﻛﺎﻫﻠﻪ‪" ،‬ﺇ‪‬ﺎ ﻋﻤﻠﻴﺔ ﺇﺧﺮﺍﺝ ﻟﺪﻭﺍﻓﻊ ﺩﺍﺧﻠﻴﺔ ﰲ ﺷﻜﻞ ﻣﻮﺿﻮﻋﻲ‪ ،‬ﻭﺍﻟﻐﺮﺽ ﻣﻦ ﺫﻟﻚ‬
‫) ‪(3‬‬
‫ﲪﺎﻳﺔ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺩﺍﻓﻊ ﺍﳋﻮﻑ ﻭﺍﻟﻘﻠﻖ ﺍﻟﺪﺍﺧﻠﻲ"‬
‫ﻭﺗﻀﺮﺏ ﺍﻟﺒﺎﺣﺜﺔ ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ ﻣﺜﺎﻻ ﻟﺘﻮﺿﻴﺢ ﺫﻟﻚ ﻣﻀﻤﻮﻧﻪ ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﻣﺜﻼ ﳜﺸﻰ ﺍﻟﻈﻼﻡ‬
‫ﻭﳛﺐ ﺿﻮﺀ ﺍﻟﺸﻤﺲ‪ ،‬ﻟﺬﻟﻚ ﻓﻬﻮ ﻳ‪‬ﻘﺪ‪‬ﺱ ﺍﻟﺸﻤﺲ ﻭﻳﻌﺪﻫﺎ ﺁﳍﺔ‪ ،‬ﰲ ﺣﲔ ﺃﻧﻪ ﻳﻌﺪ‪ ‬ﺍﻟﻈﻼﻡ ﻛﺎﺋﻨﺎ‬
‫ﺷﺮ‪‬ﻳﺮ‪‬ﺍ‪ ،‬ﺣﻴﺚ ﻳﺘﺼﺎﺭﻋﺎﻥ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻤﺎ ‪ ،‬ﻟﺘﻨﺘﺼﺮ ﺍﻟﺸﻤﺲ ﻣﻊ ﻛﻞ ﻣﻄﻠﻊ‪ ،‬ﻭﺗﺸﺒﻪ ﻋﻤﻠﻴﺔ ﺍﻹﺧﺮﺍﺝ‬
‫ﻫﺬﻩ ﺍﳊﻠﻢ ﺍﻟﺬﻱ ﻳ‪‬ﺨﺮﺝ ﻣﺎ ﰲ ﺍﻟﻨﻔﺲ ﻣﻦ ﺩﻭﺍﻓﻊ ﺍﳋﻮﻑ ﻭﺍﻟﺮﻏﺒﺔ ﰲ ﺷﻜﻞ ﺻﻮﺭﺓ ﻭﺭﻣﻮﺯ‪.‬‬
‫ﻭﺗﺘﻔﻖ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻊ ﺍﻟﻘﺼﺔ ﺍﳊﺪﻳﺜﺔ ﻣﻦ ﺣﻴﺚ ﺃﻧ‪‬ﻬﺎ ﺍﺳﺘﺠﺎﺑﺔ ﻟﻠﻨﻮﺍﺯﻉ ﺍﻟﺪﺍﺧﻠﻴﺔ ﺍﻟﱵ ﻳﻌﻴﺸﻬﺎ‬
‫ﺍﻹﻧﺴﺎﻥ ﻧﺘﻴﺠﺔ ﺇﺣﺴﺎﺳﻪ ﺑﺎﳋﻮﻑ ﻭﺭﻏﺒﺘﻪ ﰲ ﺍﻟﺘﻌﺮ‪‬ﻑ ﻋﻠﻰ ﺍﳊﻘﻴﻘﺔ ﺍﳌﺆﻛﺪﺓ‪" ،‬ﻭﻗﺪ ﺗﺘﻄﻮ‪‬ﺭ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﲢﺖ ﺗﺄﺛﲑ ﺻ‪‬ﻨﻌ‪‬ﺔ ﺍﻟﻘﺎﺹ‪ ،‬ﻭﻋﻨﺪ ﺫﻟﻚ ﻳﻨﺸﺄ ﺃﺻﻠﻬﺎ ﺍﻟﺪﻳﲏ‪ ،‬ﻭﺗﺘﺨﺬ ﺷﻜﻞ ﺣﻜﺎﻳﺔ ﺧﺮﺍﻓﻴﺔ‬
‫) ‪(4‬‬
‫ﻭﺷﻌﺒﻴﺔ"‪.‬‬

‫)‪ (1‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ ‪،‬ﺹ‪.29‬‬

‫)‪ (2‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ ‪:‬ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪ ،‬ﺹ‪.17‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.18‬‬
‫)‪ (4‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ ‪،‬ﺹ‪.19‬‬
‫‪- 85 -‬‬
‫ﺇﻥﹼ ﻣﻦ ﺍﻟﺬﻳﻦ ﺍﻫﺘﻤﻮﺍ ﺑﺘﺼﻨﻴﻒ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ‪ ،‬ﺳﻌﻴﺪﻱ ﳏﻤﺪ)‪(1‬ﺣﻴﺚ ﺍﻋﺘﻤﺪ ﰲ ﺩﺭﺍﺳﺘﻪ‬
‫ﻟﻠﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻋﻠﻰ ﺗﺼﻨﻴﻔﲔ ﺍﺛﻨﲔ ﳘﺎ‪:‬‬
‫‪ -1‬ﻳﻌﺘﻤﺪ ﺍﻟﺘﺼﻨﻴﻒ ﺍﻷﻭﻝ ﻋﻨﺪﻩ ﻋﻠﻰ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﺧﻠﻴﺔ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﻛﺎﻷﺑﻄﺎﻝ ﻭﺍﳋﻮﺍﺭﻕ‬
‫ﻭﺍﳉﻦ ﻭﺍﳊﻴﻮﺍﻥ‪.‬‬
‫‪ -2‬ﻭﻳﻌﺘﻤﺪ ﺍﻟﺘﺼﻨﻴﻒ ﺍﻟﺜﺎﱐ ﻋﻠﻰ ﺍﻟﻌﻨﺼﺮ ﺍﳌﻮﺿﻮﻋﺎﰐ ﻛﺎﳊﺐ‪ ،‬ﻭﺍﻹﺧﻼﺹ‪ ،‬ﻭﺍﻟﺪﻳﻦ‪،‬‬
‫ﻭﺍﻟﻜﺮﺍﻫﻴﺔ‪ ،‬ﺃﻭ ﺑﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﶈﺎﻭﺭ ﺍﻟﻜﱪﻯ ﻟﻠﻨﺼﻮﺹ ﺍﻟﺸﻌﺒﻴﺔ‪،‬ﻣﻦ ﺫﺍﺕ ﺍﻟﻨﺰﻋﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺃﻭ‬
‫ﺍﻟﺴﻴﺎﺳﻴﺔ ﺃﻭ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ‬
‫ﰎ ﺍﲡﻪ ﻓﻴﻤﺎ ﺑﻌﺪ ﺇﱃ ﺗﺼﻨﻴﻒ ﺁﺧﺮ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ" ﻧﺎﺗﺞ ﻋﻦ ﺗﻘﺎﻃﻊ ﺟﻨﺲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﻣﻊ ﺃﺟﻨﺎﺱ ﺍﻟﺘﻌﺒﲑ ﺍﻟﺸﻌﱯ ﺍﻷﺧﺮﻯ‪ ،‬ﻛﺎﻟﻠﻐﺰ ﻭﺍﳌﺜﻞ ﻭﺍﻟﻨﻜﺘﺔ" )‪ ،(2‬ﻭﻗﺪ ﺃﺷﺮﻧﺎ ﺇﻟﻴﻪ ﺳﺎﻟﻔﺎ ﰲ ﺃﻧﻮﺍﻉ‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪،‬ﺣﻴﺚ ﻧﺘﺞ ﻋﻦ ﻫﺬﺍ ﺍﻟﺘﻘﺎﻃﻊ ﺍﻟﻨﺼﻲ ﺃﻧﻮﺍﻋﺎ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﻠﻐﺰﻳﺔ‪،‬‬
‫ﻭﺍﳊﻜﺎﻳﺔ ﺍﳌﺜﻠﻴﺔ‪ ،‬ﻭﺍﳊﻜﺎﻳﺔ ﺍﻟﻨﻜﺘﻴﺔ‪ ،‬ﻭﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺮﻳﺔ‪.‬‬
‫ﻭﺑﺎﻟﻌﻮﺩﺓ ﺇﱃ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﻣﻔﻬﻮﻣﻬﺎ ﺍﻟﺒﺴﻴﻂ ﳒﺪﻫﺎ" ﻗﺼﺔ ﻳﺘ‪‬ﺼﻞ ﻣﻮﺿﻮﻋﻬﺎ ﺑﺘﺮﺍﺙ‬
‫ﻭﺗﻘﺎﻟﻴﺪ ﺷﻌﺐ ﻣﺎ ﻭﺑﻮﺍﻗﻌﺔ ﺍﻟﻨﻔﺴﻲ ﻭﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻟﺬﻱ ﳛﻴﺎﻩ‪ ،‬ﻭﻗﺪ ﺗﻌﺪ‪‬ﺩﺕ ﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﺑﺘﻌﺪ‪‬ﺩ ﻗﻀﺎﻳﺎ‬
‫ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺗﻨﻮﻋﻬﺎ‪.(3) "...‬‬
‫ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪‬ﺬﻩ ﺍﻟﺼﻮﺭﺓ ﺗﺘﺴﻢ ﺑﺎﻟﻮﺍﻗﻌﻴﺔ ﻭﻫﻲ ﺻﻔﺔ ﺍﻛﺘﺴﺒﺘﻬﺎ ﻣﻦ ﺧﻼﻝ ﺍﺭﺗﺒﺎﻃﻬﺎ‬
‫ﺑﻮﺍﻗﻊ ﺍﻟﺸﻌﻮﺏ ﻭﻣﻮﺍﻗﻔﻬﻢ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﻨﻔﺴﻴﺔ ﲡﺎﻩ ﺍﻟﻘﻀﺎﻳﺎ ﺍﳌﺘﻨﻮﻋﺔ ﺍﳌﺮﺗﺒﻄﺔ ﲝﻴﺎ‪‬ﻢ‬
‫ﺍﻟﻴﻮﻣﻴﺔ‪.‬‬
‫ﻛﻤﺎ ﺗﺘﻤﻴﺰ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺴﻤﺎﺕ ﺃﺧﺮﻯ‪ ،‬ﺗﺄﰐ ﰲ ﻣﻘﺪ‪‬ﻣﺘﻬﺎ ﺍﳊﻜﺎﺋﻴﺔ ﻭﺍﻟﺴﺮﺩﻳﺔ‬
‫"ﻓﺎﳊﻜﺎﺋﻴﺔ ﳍﺎ ﺻﻠﺔ ﲟﺎﺩﺓ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﻟﻠﺴﺮﺩﻳﺔ ﻋﻼﻗﺔ ﺑﺼﻮﺭ‪‬ﺎ ﺃﻭ ﻃﺮﻳﻘﺘﻬﺎ‪ ،‬ﻛﻤﺎ ﺃﻥ ﲨﻴﻊ ﺍﻷﻧﻮﺍﻉ‬
‫ﺍﻟﺴﺮﺩﻳﺔ ﺗﺸﺘﺮﻙ ﰲ ﻫﺬﻩ ﺍﳌﺎﺩﺓ ﻣﻊ ﺍﺧﺘﻼﻓﻬﺎ ﻭﲤﺎﻳﺰ ﺑﻌﻀﻬﺎ ﻋﻦ ﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ ﻧﻮﻋﻴﺎ ﻣﻦ ﺣﻴﺚ‬
‫) ‪(4‬‬
‫ﺍﻟﻄﺮﻳﻘﺔ ﺍﳌﻌﺮﻭﺿﺔ ‪‬ﺎ ﻣﺎﺩﺓ ﺍﳊﻜﺎﻳﺔ "‬

‫)‪(1‬ﳏﻤﺪ ﺳﻌﻴﺪﻱ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪،‬ﺹ‪.66 ،62‬‬

‫)‪ (2‬ﻧﺎﺻﺮ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ‪ :‬ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﺷﻌﺒﻴﺘﻬﺎ ﻭﻣﻮﺍﻗﻒ ﺇﻧﺴﺎ‪‬ﺎ ﺍﻟﺸﻌﱯ ﻭﻃﺮﺍﺋﻘﻪ ﻣﻦ ﺧﻼﳍﺎ‪ ،‬ﺇﺷﺮﺍﻑ‪ :‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ ،‬ﺭﺳﺎﻟﺔ ﻣﺎﺟﺴﺘﲑ ﻏﲑ‬
‫ﻣﻨﺸﻮﺭﺓ‪ ،‬ﺟﺎﻣﻌﺔ ﺍﳉﺰﺍﺋﺮ‪2003 ،‬ﻡ‪،‬ﺹ‪.126‬‬
‫)‪ (3‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.126‬‬
‫)‪(4‬ﻧﺎﺻﺮ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ‪ :‬ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﺷﻌﺒﻴﺘﻬﺎ ﻭﻣﻮﺍﻗﻒ ﺇﻧﺴﺎ‪‬ﺎ ﺍﻟﺸﻌﱯ‪،‬ﺹ‪.130‬‬
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‫ﻋﻤﻮﻣ‪‬ﺎ ﻓﺈﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺑﺄﻧﻮﺍﻋﻬﺎ‪ :‬ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﺍﳋﺮﺍﻓﻴﺔ‪،‬ﻭﺍﻷﺳﻄﻮﺭﻳﺔ‪ ،‬ﺗﺒﻘﻰ ﺃﺻﻨﺎﻓﹰﺎ ﺛﻼﺛﺔ ﻟﻨﻮﻉ‬
‫ﺳﺮﺩﻱ ﺣﻜﺎﺋﻲ ﻭﺍﺣﺪ‪ ،‬ﻫﻮ ﻧﺘﺎﺝ ﺇﺑﺪﺍﻉ ﺷﻌﱯ‪ ،‬ﻋﺒ‪‬ﺮ ﻋﻦ ﺭﻭﺡ ﺍﻟﺸﻌﺐ ﻭﻣﺘﻄﻠﺒﺎﺗﻪ ﰲ ﻣﺮﺣﻠﺔ ﻣﻦ‬
‫ﺍﳌﺮﺍﺣﻞ ‪.‬‬
‫ﺿﻒ ﺇﱃ ﺫﻟﻚ ﺃﻥﹼ ﺃﻧﻮﺍﻉ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﱵ ﺫﻛﺮﻧﺎﻫﺎ ﺳﺎﺑﻘﺎ ‪,‬ﺣﱴ ﻭﺇﻥ ﺗﻌﺪ‪‬ﺩﺕ ﺍﲡﺎﻫﺎ‪‬ﺎ ﻭﺗﻨﻮﻋﺖ‬
‫ﺃﺻﻨﺎﻓﻬﺎ‪ ،‬ﻓﺈ‪‬ﺎ ﺗﻌﻜﺲ ﻣﺪﻯ ﺍﻫﺘﻤﺎﻡ ﺍﻟﺒﺎﺣﺜﲔ ﺑﺎﳊﻜﺎﻳﺔ ﻋﻤﻮﻣ‪‬ﺎ‪ ،‬ﻭﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﺍﳋﺼﻮﺹ‪.‬‬
‫ﻛﻤﺎ ﺗﺒﻘﻰ ﻫﺬﻩ ﺍﻟﺘﺼﻨﻴﻔﺎﺕ‪,‬ﺭﻏﻢ ﻛﺜﺮ‪‬ﺎ ﲤﺜﹼﻞ ﳎﻤﻮﻋﺔ ﻗﻮﺍﻋﺪ ﻭﺍﺳﺘﻨﺘﺎﺟﺎﺕ ﺳﻬ‪‬ﻠﺖ ﺍﻟﻌﻤﻞ‬
‫ﺃﻣﺎﻣﻨﺎ ﻭﻻ ﺯﺍﻟﺖ ﲤﻬﺪ ﻃﺮﻳﻖ ﺍﻟﺪﺭﺍﺳﺔ ﺃﻣﺎﻡ ﺍﻟﺒﺎﺣﺜﲔ ﰲ ﻣﻴﺪﺍﻥ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ‪.‬‬

‫ﺛﺎﻧﻴﺎ ‪ -‬واﻗﻊ اﻟﺤﻜﻲ اﻟﺸﻌﺒﻲ ﻓﻲ اﻟﻤﻨﻄﻘﺔ‬

‫ﻧﻘﺼﺪ ﺑﻮﺍﻗﻊ ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ ﺣﺎﻝ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺃﻭ ﺑﺎﻷﺣﺮﻯ‬
‫ﻣﻜﺎﻧﺔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﰲ ﻇﻞ ﻭﺟﻮﺩ ﻓﻨﻮﻥ ﺃﺧﺮﻯ ﻛﺎﳌﺜﻞ ﻭﺍﻟﻠﻐﺰ ﻭﺍﻟﺸﻌﺮ ﺍﳌﻠﺤﻮﻥ‬
‫ﻭﻏﲑﻫﺎ‪...‬‬
‫ﻭﻗﺪ ﺍﺳﺘﻄﻌﻨﺎ ﺃﻥ ﻧﺮﺻﺪ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﲟﺴﺎﻋﺪﺓ ﺃﻣﺮﻳﻦ ﺍﺛﻨﲔ ﳘﺎ‪:‬‬
‫ﺃﻭﻻ‪ :‬ﻃﺮﺣﻨﺎ ﻋﻠﻰ ﺃﻧﻔﺴﻨﺎ ﲨﻠﺔ ﻣﻦ ﺍﻹﺷﻜﺎﻻﺕ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﻛﻘﻮﻟﻨﺎ ﻣﺜﻼ‪:‬‬
‫ﳌﺎﺫﺍ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﳛﻜﻲ؟ ﻣﺎﺫﺍ ﲤﺜﻞ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻟﻪ؟ ﻣﻦ ﺍﻟﺬﻱ ﲣﻮ‪‬ﻝ ﻟﻪ ﻭﻇﻴﻔﺔ‬
‫ﺍﳊﻜﻲ؟ ﺃﻡ ﺍﳉﻤﻴﻊ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳ‪‬ﺤ‪‬ﻜﻲ ‪.‬‬
‫ﻫﻞ ﻟﻠﺤﻜﺎﻳﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺯﻣﻦ ﲢﻜﻰ ﻓﻴﻪ؟ ﺃﻡ ﻛﻞ ﺍﻷﺯﻣﻨﺔ ﻣﻮﺍﺗﻴﺔ ﻟﻠﺤﻜﻲ؟‪...‬‬
‫ﻭﲞﺮﻭﺟﻨﺎ ﺇﱃ ﺍﳌﻴﺪﺍﻥ ﺍﺳﺘﻄﻌﻨﺎ ﺃﻥ ﻧﻀﺒﻂ ﺍﻹﺟﺎﺑﺎﺕ ﺍﶈﺘﻤﻠﺔ ﻋﻦ ﺍﻹﺷﻜﺎﻟﻴﺎﺕ ﺍﳌﻄﺮﻭﺣﺔ‪ ،‬ﻣﻦ‬
‫ﺃﻓﻮﺍﻩ ﺃﻋﻴﺎﻥ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻭﻫﻮ ﺍﻷﻣﺮ ﺍﻟﺜﺎﱐ ﺍﻟﺬﻱ ﻛﺎﻥ ﻃﺮﻓﺎ ﻣﻬﻤ‪‬ﺎ ﰲ ﻣﺴﺎﻋﺪﺗﻨﺎ ﻋﻠﻰ ﺭﺻﺪ ﻭﺍﻗﻊ‬
‫ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﺴﻴﻠﺔ‪.‬‬
‫ﻓﻤﺎ ﻫﻮ ﻭﺍﻗﻊ ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻳﺎ ﺗ‪‬ﺮﻯ ؟‪.‬‬

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 ‫‪ - 1‬ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﻭﻣﻔﻬﻮﻣﻪ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫ﻳ‪‬ﻌﺘﱪ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻭﺍﺣﺪ‪‬ﺍ ﻣﻦ ﺃﻛﺜﺮ ﺃﺷﻜﺎﻝ ﺍﻟﺘ‪‬ﻌﺒﲑ ﺑﺮﻭﺯ‪‬ﺍ ﰲ ﺛﻘﺎﻓﺔ ﺍ‪‬ﺘﻤﻊ ﺍﻟﺸﻌﱯ‬
‫ﺑﺎﳌﺴﻴﻠﺔ‪ ،‬ﻷﻧﻪ ﻳ‪‬ﺮﻭﻱ ﰲ ﳐﺘﻠﻒ ﺍﻟﺘﺠﻤﻌﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﻟﺴﻮﻕ ﻭﺍﳌﻘﻬﻰ ﻭﺍﻟﺪ‪‬ﻛﺎﻥ ﻭﺍﳊﻲ ﻭﺍﻟﺒﻴﺖ‬
‫ﺃﻳﻀﺎ‪...‬‬
‫ﻛﻤﺎ ﳝﺜﹼﻞ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺍﻟﻔﻦ ﺍﻷﻛﺜﺮ ﺗﺪﺍﻭﻻ ﺑﲔ ﺷﺮﺍﺋﺢ ﺍ‪‬ﺘﻤﻊ ﺣﻴﺚ ﻳﻨﺘﻘﻞ ﻣﻦ ﺍﻟﻜﺒﲑ‬
‫ﺇﱃ ﺍﻟﺼﻐﲑ‪ ،‬ﻭﻣﻦ ﺍﳉﺪ‪‬ﺓ ﻭﺍﳉﺪ‪ ،‬ﻭﻣﻦ ﺍﻷﺏ ﻭﺍﻷﻡ‪" ،‬ﻛﻤﺎ ﻳﻨﺘﻘﻞ ﺑﲔ ﻓﺌﺎﺕ ﺍﻟﻌﻤﺮ ﺍﳌﺨﺘﻠﻔﺔ ﰲ‬
‫ﺍﻟﺘﺠﻤﻌﺎﺕ ﺍﻟﱵ ﻳﺘﻘﺎﺭﺏ ﺃﻋﻀﺎﺅﻫﺎ ﰲ ﺍﻟﻌﻤﺮ‪ ،‬ﻣﺜﻠﻤﺎ ﻳﻘﻊ ﰲ ﲡﻤﻌﺎﺕ ﺳﻜﺎﻥ ﺍﳊﻲ ﻋﻨﺪﻣﺎ ﳚﺘﻤﻊ‬
‫ﺍﻷﻃﻔﺎﻝ ﻭﺍﻟﺸﺒﺎﺏ ﻭﺍﻟﺸﻴﻮﺥ‪ ...‬ﻭﻛﺬﻟﻚ ﰲ ﲡﻤﻊ ﺍﻟﻌﻤﻞ ﺍﻟﺘﻄﻮﻋﻲ‪ ...‬ﻛﻤﺎ ﻳﻨﻘﻞ ﻣﻦ ﺍﻟﺒﺎﺩﻳﺔ ﺇﱃ‬
‫) ‪(1‬‬
‫ﺍﳊﻀﺮ ﻋﻦ ﻃﺮﻳﻖ ﺃﻧﺼﺎﻑ ﺍﻟﺮﺣﻞ‪ ،‬ﻭﺍﻟﺬﻳﻦ ﻳﺘﺤﻮﻟﻮﻥ ﻓﻴﻤﺎ ﺑﻌﺪ ﺇﱃ ﻣﻘﻴﻤﲔ ﰲ ﺍﳊﻀﺮ‪"...‬‬
‫ﻓﻤﺠﺎﻻﺕ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻭﺍﺳﻌﺔ ﻭﻛﺜﲑﺓ‪ ،‬ﺣﻴﺚ ﺗﺘﻨﺎﻗﻠﻪ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﰲ‬
‫ﻛﻞﹼ ﺍﻷﻣﺎﻛﻦ ‪ ،‬ﻭﻳﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺘﻨﺎﻗﻞ ﺷﻔﻮﻳﺎ‪ ،‬ﻭﻗﺪ ﺗﺴﺘﺨﺪﻡ ﻓﻴﻪ ﺍﳌﺪﻭ‪‬ﻧﺎﺕ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﻭﻟﻜﻦ‬
‫ﻋﻠﻰ ﻧﻄﺎﻕ ﺿﻴ‪‬ﻖ ‪.‬‬
‫ﻟﻘﺪ ﺍﺭﺗﺒﻂ ﺍﻹﻧﺴﺎﻥ ﺍﳌﺴﻴﻠﻲ ﺑﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﺭﺗﺒﺎﻃﺎ ﲪﻴﻤﻴﺎ ﻷﻧ‪‬ﻬﺎ ﻣﺜﹼﻠﺖ ﻟﻪ ﺷﻜﻼﹰ ﻣﻦ‬
‫ﺃﺷﻜﺎﻝ ﺍﻟﻐﺮﻳﺰﺓ ﺍﻹﻧﺴﺎﻧﻴﺔ‪،‬ﺣﻴﺚ ﺃﻧ‪‬ﻬﺎ ﺗﻔﺼﺢ ﻧﻮﺍﺯﻋﻬﺎ ﻭﺃﲰﻰ ﻣﺸﺎﻋﺮﻫﺎ ﻭﺃﺭﻕ ﻋﻮﺍﻃﻔﻬﺎ‬
‫ﻭﺃﺣﺎﺳﻴﺴﻬﺎ‪ ،‬ﺑﺪﺍﻳﺔ ﲟﺎ ﻭﻗﻊ ﻋﻠﻴﻪ ﻧﻈﺮﻩ ﻣﻦ ﻣﻈﺎﻫﺮ ﺍﻟﻄﺒﻴﻌﺔ ﺍﳌﺨﺘﻠﻔﺔ ‪.‬‬
‫ﻛﻤﺎ ﻣﺜﹼﻠﺖ ﺍﳊﻜﺎﻳﺔ ﺃﺩﺏ ﺍﻟﺸﻌﺐ ﲝﻖ‪ ،‬ﺑﻞ ﺻﺎﺭ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺃﻣﻴﻞ ﺇﻟﻴﻬﺎ ﻣﻦ ﻏﲑﻫﺎ "ﻷ‪‬ﺎ‬
‫ﻃﺮﻳﻘﺔ ﺃﳒﻊ ﻟﻠﺘﻨﻔﻴﺲ ﻋﻦ ﺧﻠﺠﺎﺗﻪ‪ ...‬ﻭﻫﻲ ﰲ ﺍﻟﻨﻬﺎﻳﺔ ﻭﺳﻴﻠﺔ ﻟﻠﺘﺴﻠﻴﺔ ﻭﻧﺴﻴﺎﻥ ﺁﻻﻣﻬﻢ‪ ،‬ﲣﻔﻴﻔﺎ ﻣﻦ‬
‫) ‪(2‬‬
‫ﺣﺪﺓ ﺍﻟﻀﻐﻮﻁ ﺍﻟﱵ ﻋﺎﻧﺖ ﻣﻨﻬﺎ ﻃﺒﻘﺎﺕ ﺍﻟﺸﻌﺐ ﺍﻟﻜﺎﺩﺣﺔ "‬
‫ﻟﻘﺪ ﺳﺎﻋﺪﻧﺎ ﻋﻤﻠﻨﺎ ﺍﳌﻴﺪﺍﱐ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ ﻋﻠﻰ ﺭﺻﺪ ﲨﻠﺔ ﻣﻦ ﺍﳌﺼﻄﻠﺤﺎﺕ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﺗﺘﺪﺍﻭﳍﺎ ﺍﳉﻤﺎﻋﺔ ﻭﺍﻟﱵ ﻣﻨﻬﺎ ﻣﺼﻄﻠﺢ ﺍﶈﺎﺟﻴﺔ؛ ﺇﺫ ﻫﻲ ﻟﻔﻈﺔ ﺗﻄﻠﻖ ﰲ ﺍﳌﻨﻄﻘﺔ ﻋﻠﻰ‬
‫ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺑﺎﻟﻠﻬﺠﺔ ﺍﶈﻠﻴﺔ ﺍﳌﺘﺪﺍﻭﻟﺔ‪.‬‬
‫ﻭﻫﻲ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﺃﺻﻞ ﺣﺠﺄ‪ :‬ﺣﺠﺊ ﺑﺎﻟﺸﻲﺀ‪ ،‬ﺣﺠﺄ ﻇﻦ ﺑﻪ ﻭﻫﻮ ﺑﻪ ﺣﺠﻲﺀ ﺃﻱ ﻣﻮﻟﻊ ﺑﻪ ﺿﻨﲔ‪،‬‬
‫ﻳﻬﻤﺰ ﻭﻻ ﻳﻬﻤﺰ ﻗﺎﻝ‪:‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ‪،‬ﺹ‪.33‬‬
‫)‪(2‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ‪،‬ﺹ‪.07‬‬
‫‪- 88 -‬‬
 ‫ﻭﺩﻭﱀ ﻓﺄﻋﻠﻤﻮﺍ‪ ،‬ﺣﺠﻲﺀ ﺿﻨﲔ ‪.‬‬ ‫ﻓﺈﻧ‪‬ﻲ ﺑﺎﳉﻤﻮﺡ ﻭﺃﻡ‪ ‬ﺑﻜﺮ‬
‫ﻗﺎﻝ ﺍﻷﺯﻫﺮﻱ ﻋﻦ ﻓﺮ‪‬ﺍﺀ‪ :‬ﺣﺠﺌﺖ ﺑﺎﻟﺸﻲﺀ‪ :‬ﻭﲢﺠﻴﺖ ﺑﻪ‪ ،‬ﻳﻬﻤﺰ ﻭﻻ ﻳﻬﻤﺰ ﲤﺴﻜﺖ ﺑﻪ ﻭﻟﺰﻣﺘﻪ‪.‬‬
‫ﻗﺎﻝ ﺍﺑﻦ ﺯﻳﺪ‪:‬‬
‫ﻭﻛﺄﻥﹼ ﺑﺄﻧﻔﻪ ﺣﺠﺌﺎ ﺿﻨﻴﻨﺎ‬ ‫ﺃﻃﻠﻖ ﰲ ﺃﻧﻔﻪ ﺍﳌﻮﻣﻨﱵ ﻗﺼﲑ‬
‫ﻭﺣﺠﺊ ﺑﺎﻷﻣﺮ ﻓﺮﺡ ﺑﻪ‪ ،‬ﻭﺣﺠﺄﺕ ﺑﻪ‪ :‬ﻓﺮﺣﺖ ﺑﻪ‪ ،‬ﻭﺣﺠﺊ ﺑﺎﻟﺸﻲﺀ ﻭﺣﺠﺄ ﺣﺠﺄﹰ ﲤﺴﻚ ﺑﻪ‬
‫) ‪(1‬‬
‫ﻭﻟﺰﻣﻪ‪.‬‬
‫ﺇﻥﹼ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﳌﹼﺎ ﺃﻃﻠﻘﺖ ﻣﺼﻄﻠﺢ ﺍﶈﺎﺟﻴﺔ ﻋﻠﻰ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﱂ‬
‫ﻳﻜﻦ ﻣﻦ ﻗﺒﻴﻞ ﺍﻟﺼﺪﻓﺔ ﺃﻭ ﺷﺎﺑﻪ‪ ،‬ﻭﺇﳕﹼﺎ ﻟﺪﻭﺍﻋﻲ ﺧﻔﻴﺔ ﻗﺪ ﺃﻓﺼﺢ ﻋﻨﻬﺎ ﺍﻟﺘﻌﺮﻳﻒ ﺍﻟﻠﻐﻮﻱ ﺍﻟﺴﺎﺑﻖ‬
‫ﳌﺼﻄﻠﺢ ﺍﶈﺎﺟﻴﺔ ﻭﺍﳌﺘﻌﻠﻖ ﺃﺳﺎﺳﺎ ﺑﺎﻟﺘ‪‬ﺴﻠﻴﺔ ‪.‬‬
‫ﻓﻮﻟﻊ ﺍﻹﻧﺴﺎﻥ ﺍﳌﺴﻴﻠﻲ ‪‬ﺬﺍ ﺍﻟﻔﻦ ﺍﻷﺩﰊ ‪ ،‬ﻭﲤﺴﻜﻪ ﺑﻪ ﻭﻟﺰﻭﻣﻪ ﺇﻳﺎﻩ ﻳﻔﺼﺢ ﻋﻦ ﺳﺒﺐ ﺍﻟﺘﺴﻤﻴﺔ‪ .‬ﻛﻤﺎ‬
‫ﳒﺪ ﺍﳌﻮﺿﻮﻉ ﻣﺘﻌﻠﹼﻖ ﺑﺄﻣﻮﺭ ﺃﺧﺮﻯ ﻛﺎﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﺮﻓﻴﻬﻴﺔ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﺜﻼ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺗﻨﻮﻉ‬
‫ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﻟﱵ ﺗﻌﺎﳉﻬﺎ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪.‬‬
‫ﺇﻥﹼ ﻭﻟﻊ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﲟﺜﻞ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺴﺮﺩﻳﺔ‪ ،‬ﻧﺎﺗﺞ ﻋﻦ ﻏﻠﺒﺔ ﺍﳋﻴﺎﻝ‬
‫ﻓﻴﻬﺎ‪ ،‬ﺇﺫ ﺍﻟﺸﻌﻮﺏ ﻣﻔﻄﻮﺭﺓ ﻋﻠﻰ ﻣﻌﺎﳉﺔ ﻭﺍﻗﻌﻬﺎ ﻋﻦ ﻃﺮﻳﻖ ﺍﳋﻴﺎﻝ ﳍﺬﺍ ﳒﺪ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻭ‬
‫ﶈﺎﺟﻴﺔ‪ ،‬ﺃﻛﺜﺮ ﺍﻟﻔﻨﻮﻥ ﻭﺃﻗﺪﺭﻫﺎ ﻋﻠﻰ ﺍﻻﺳﺘﻴﻌﺎﺏ ﻭﺍﻻﻗﺘﺮﺍﺏ ﻭﺍﳍﻀﻢ‪.‬‬
‫ﻏﲑ ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﻻ ﻳﻔﺮ‪‬ﻕ ﺑﲔ ﺃﻧﻮﺍﻉ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﺑﻞ ﻳﻄﻠﻖ ﻋﻠﻰ ﳎﻤﻠﻬﺎ ﺍﺳﻢ‬
‫ﺍﶈﺎﺟﻴﺔ ‪ ،‬ﻓﻬﻮ ﻻ ﻳﻔﺮ‪‬ﻕ ﺑﲔ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﳋﻴﺎﱄ ﻭﺑﲔ ﺍﳊﻜﺎﻳﺔ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﻟﱵ‬
‫ﺗﺘﻨﺎﻭﻝ ﺍﳋﻮﺍﺭﻕ‪ ،‬ﻭﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﳍﺎ ﺻﻠﺔ ﺑﺎﻟﻮﺍﻗﻊ ‪ ،‬ﻭﻻ ﻳﻐﻠﺐ ﻋﻠﻴﻬﺎ ﺍﻟﻄﺎﺑﻊ ﺍﳋﺮﺍﰲ‪.‬‬
‫ﻭﺑﻌﺪ ﺍﻃﻼﻋﻨﺎ ﻋﻠﻰ ﻋﻴ‪‬ﻨﺔ ﻣﻦ ﳎﺘﻤﻊ ﺍﻟﺒﺤﺚ‪ ،‬ﻭﺟﺪﻧﺎ ﻣﻌﻈﻤﻬﻢ ﻳ‪‬ﻔﻀﻞ ﺍﳊﻜﺎﻳﺔ ﺍﻟﻄﻮﻳﻠﺔ‪ ،‬ﺫﺍﺕ‬
‫ﺍﻷﺣﺪﺍﺙ ﺍﳌﺘﺸﺎﺑﻜﺔ‪ ،‬ﻭﺍﻟﱵ ﻗﺪ ﺗﺴﺘﻐﺮﻕ ﺯﻣﻨﺎ ﻃﻮﻳﻼ ﰲ ﺳﺮﺩﻫﺎ ﺑﻞ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﺴﺘﻐﺮﻕ ﺯﻣﻦ‬
‫ﺍﻟﺴﻬﺮﺓ ﻛﻠﹼﻪ‪ ،‬ﺩﻭﻥ ﺃﻥ ﲢﺲ‪ ‬ﺍﳉﻤﺎﻋﺔ ﺑﺎﻟﺘﻌﺐ ﻭﺍﻟﻨﻌﺎﺱ ﻷﻥﹼ ﺧﻴﺎﻝ ﺍﳊﻜﺎﻳﺔ ﺍﳉﺎﻧﺢ ﻳﺴﺘﻬﻮﻳﻬﻢ‪ ،‬ﳍﺬﺍ‬
‫ﲡﺪﻫﻢ ﻳ‪‬ﻔﻀﻠﻮﻥ ﺍﳊﻜﺎﻳﺔ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﳋﻴﺎﱄ‪ ،‬ﻓﻬﻢ ﳛﻘﻘﻮﻥ ﺃﻣﺎﻧﻴﻬﻢ ﻭﺃﺣﻼﻣﻬﻢ‪ ،‬ﻣﻦ ﺧﻼﳍﺎ ﻛﻤﺎ‬
‫ﲢﻘﻖ ﻫﻲ ﺍﻷﺧﺮﻯ ﺃﺷﻴﺎﺀ ﺧﻔﻴﺔ ﰲ ﺃﻧﻔﺴﻬﻢ ‪.‬‬

‫)‪(1‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪،‬ﻁ‪ ،1‬ﻣﺞ‪2003 ،1‬ﻡ‪،‬ﺹ‪.201‬‬

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‫ﻭﻫﺬﺍ ﻣﺎ ﺟﻌﻠﻬﻢ ﻳﻐﻀﻮﻥ ﺍﻟﻨﻈﺮ ﻋﻦ ﺟﻨﺲ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳊﻜﺎﺋﻴﺔ ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﺇﻧﺴﺎﻧﻴﺔ ﺃﻭ‬
‫ﺣﻴﻮﺍﻧﻴﺔ‪ ،‬ﻷﻥﹼ ﺍﳊﻜﺎﻳﺔ ﻋﻠﻰ ﺣﺪ‪ ‬ﺗﻌﺒﲑﻫﻢ)‪ (1‬ﻣﺜﹼﻠﺚ ﳍﻢ ﰲ ﺍﻟﺴﺎﺑﻖ ﻣﺎ ﲤﺜﹼﻠﻪ ﻟﻨﺎ ﳓﻦ ﺍﻟﻴﻮﻡ ﺍﳌﺴﻠﺴﻼﺕ‬
‫ﺍﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ ﺍﳌﺘﻨﻮﻋﺔ‪ ،‬ﻓﻜﻤﺎ ﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻔﻮﺕ ﻭﻻ ﺣﻠﻘﺔ ﻣﻦ ﺣﻠﻘﺎ‪‬ﺎ‪ ،‬ﱂ ﻳﺘﻤﻜﻨﻮﺍ ﰲ ﺍﻟﺴﺎﺑﻖ ﻣﻦ‬
‫ﺗﻀﻴﻴﻊ ﻭﻻ ﺣﺪﺙ ﻣﻦ ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺷﺮﻳﻄﺔ ﺃﻥ ﺗﻜﻮﻥ ﺃﻟﻔﺎﻇﻬﺎ ﳏﺘﺮﻣﺔ‪ ،‬ﲝﻴﺚ ﻳﺴﺘﻄﻴﻊ‬
‫ﻛﻞﹼ ﺃﻓﺮﺍﺩ ﺍﻟﻌﺎﺋﻠﺔ ﺃﻥ ﳚﺘﻤﻌﻮﺍ ﺣﻮﳍﺎ ﻭﻳﺴﺘﻤﻌﻮﺍ ﺇﻟﻴﻬﺎ‪.‬‬
‫ﻭﻣﺎ ﺷﺪ‪ ‬ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺃﻛﺜﺮ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺍﺭﺗﺒﺎﻃﻬﺎ ﺑﻮﺍﻗﻌﻪ ﺍﻟﻴﻮﻣﻲ ﻣﻦ ﺧﻼﻝ‬
‫ﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﱵ ﲤﺴﻪ ﻛﺎﻟﻔﻘﺮ‪ ،‬ﻭﺍﻟﻈﻠﻢ‪ ،‬ﻭﺍﶈﺴﻮﺑﻴﺔ‪ ،‬ﻭﺍﻟﻴﺘﻢ ﻭﻗﺴﻮﺓ ﺯﻭﺟﺔ‬
‫ﺍﻷﺏ‪...،‬ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻓﻔﻲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺍﲣﺬ ﺍﻟﻘﺎﺹ ﻣﻦ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ‬
‫ﻭﺳﻴﻠﺔ ﻹﺻﻼﺡ ﺍ‪‬ﺘﻤﻊ ‪ ،‬ﺑﻨﺸﺮ ﺍﳋﲑ ﺍﳌﻄﻠﻖ ﻓﻴﻪ ﻭﺇﺯﺍﻟﺔ ﻛﻞ ﺍﻟﻌﻮﺍﺋﻖ ﺍﻟﱵ ﲢﺪ ﺍﻟﻔﺮﺩ ﻣﻦ ﲢﻘﻴﻖ ﺫﺍﺗﻪ"‬
‫ﻭﻫﻮ ﲟﻘﺪﺍﺭ ﻣﺎ ﳛﻘﻖ ﻋﻦ ﻃﺮﻳﻘﻬﺎ ﺫﺍﺗﻪ‪ ،‬ﳚﺪ ﻓﻴﻬﺎ ﲢﻘﻴﻘﺎ ﻟﺘﻮﺍﺻﻠﻪ ﻣﻊ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﻭﻣﺸﺎﺭﻛﺘﻬﻢ ﰲ‬
‫) ‪(2‬‬
‫ﺍﻷﺣﺎﺳﻴﺲ ﻭﺍﳌﺸﺎﻋﺮ‪ ،‬ﻭﰲ ﺃﺳﻠﻮﺏ ﺍﻟﺘﻌﺒﲑ ﻋﻨﻬﺎ "‬
‫ﻛﻤﺎ ﻣﺜﹼﻠﺚ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻟﺪﻯ ﺍﳌﺴﻴﻠﻴﲔ ﺳﺎﺑﻘﺎ‪ ،‬ﺍﳌﺪﺭﺳﺔ ﺍﻷﻭﱃ ﺍﻟﱵ ﻳﺘﻠﻘﻰ ﻓﻴﻬﺎ ﺍﻟﺼﻐﺎﺭ‬
‫ﺃﺻﻮﻝ ﺍﻟﺘﺮﺑﻴﺔ‪ ،‬ﻭﻣﻦ ﺧﻼﳍﺎ ﺗﻨﻤﻮﺍ ﻋﻘﻮﳍﻢ‪ ،‬ﻭﻣﻘﺪﺭﺍ‪‬ﻢ ﺍﻟﺬﻫﻨﻴﺔ‪ ،‬ﺑﻞ ﻭﻳﺘﺤﺴﻦ ﺳﻠﻮﻛﻬﻢ ﺃﻳﻀﺎ‪ ،‬ﻷ‪‬ﺎ‬
‫ﺗﺰﺭﻉ‪ -‬ﻋﻠﻰ ﺣﺪ‪ ‬ﺗﻌﺒﲑﻫﻢ‪ -‬ﺍﻟﺸﺠﺎﻋﺔ ﰲ ﻧﻔﻮﺱ ﺍﻟﺼﻐﺎﺭ‪،‬ﻭﺗﺪﻓﻊ ﺍﳋﻮﻑ ﻋﻨﻬﻢ‪،‬ﻛﻤﺎ ﺗﻌﻄﻴﻬﻢ‬
‫) ‪(3‬‬
‫ﺗﻔﺴﲑﺍﺕ ﻣﻘﻨﻌﺔ ﻟﻠﻤﻮﺟﻮﺩﺍﺕ ﺍﶈﻴﻄﺔ ‪‬ﻢ ‪.‬‬
‫ﺇﻥ ﻫﺬﻩ ﺍﻟﺘﻔﺴﲑﺍﺕ ﺗﻌﻜﺲ ﻟﻨﺎ ﺃﳘﻴﺔ ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﻣﻦ ﺧﻼﻝ ﺍﻟﺪﻭﺭ ﺍﻟﻔﻌﺎﻝ‬
‫ﺍﻟﺬﻱ ﺗﺆﺩﻳﻪ ﺍﳊﻜﺎﻳﺔ ﺩﺍﺧﻞ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ‪،‬ﻛﻤﺎ ﺃﻥ ﺗﻮﺟﻴﻬﻬﺎ ﻟﻸﻃﻔﺎﻝ ﺍﻟﺼﻐﺎﺭ ﺍﻟﺬﻳﻦ ﺳﻴﻤﺜﻠﻮﻥ‬
‫ﻓﻴﻬﺎ ﺑﻌﺪ ﻋﻤﺎﺩ ﺍ‪‬ﺘﻤﻊ ﻭﺭﻛﻴﺰﺗﻪ ﺍﻟﱵ ﻳﻨﻬﺾ ‪‬ﺎ ﻭﻳﺰﺩﻫﺮ ﻣﻦ ﺧﻼﳍﺎ‪ ،‬ﻳﺜﺒﺖ ﻣﺪﻯ ﺍﻟﺘﻔﻜﲑ ﺍﻟﻌﻘﻼﱐ‬
‫ﺍﳉﺎﺩ ﻟﻠﻤﺴﻴﻠﻴﲔ ﲡﺎﻩ ﻣﺴﺘﻘﺒﻞ ﺃﺑﻨﺎﺋﻬﻢ‪.‬‬
‫ﻭﻗﺪ ﻟﻌﺒﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺩﻭﺭ‪‬ﺍ ﺑﺎﻟﻎ ﺍﻷﳘﻴﺔ ﺧﺼﻮﺻﺎ ﰲ ﻭﻗﺖ ﺍﻟﺜﻮﺭﺓ ﺣﻴﺚ‬
‫ﺷﻜﻠﺖ ﻋﺎﻣﻼ ﻣﻬﻤ‪‬ﺎ ﰲ ﻧﻔﻮﺱ ﺍﳌﺴﻴﻠﻴﲔ ﻣﻦ ﺧﻼﻝ ﺩﻋﻮﺓ ﺍﻟﻘﺼ‪‬ﺎﺻﲔ ﻭﺑﻮﺍﺳﻄﺘﻬﺎ ﺍﻟﺸﻌﺐ ﺇﱃ‬
‫ﺍﳉﻬﺎﺩ ﻭﻣﻘﺎﻭﻣﺔ ﺍﳌﺴﺘﻌﻤﺮﻳﻦ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﺍﶈﺎﻓﻈﺔ ﻋﻠﻰ ﻣﻘﻮﻣﺎﺕ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻘﻮﻣﻴﺔ ﻣﻦ ﺟﻬﺔ‬

‫)‪(1‬ﺍﳊﻮﺍﺭ ﺩﺍﺭ ﻣﻊ ﺍﻟﺴﻴﺪﺓ‪ :‬ﻑ‪،‬ﻟﻮﻳﺰﺓ ‪ 55‬ﺳﻨﺔ ﺭﺑﺔ ﺑﻴﺖ ‪ ،‬ﺍﳌﻌﺎﺿﻴﺪ ‪.‬‬

‫)‪ (2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪ ،‬ﺹ ‪. 53‬‬
‫)‪ (3‬ﻧﻔﺲ ﺍﶈﺎﻭﺭ ﺍﻟﺴﺎﺑﻖ ‪.‬‬
‫‪- 90 -‬‬
‫ﺃﺧﺮﻯ" ﻷﻥﹼ ﺍﺳﺘﻘﺮﺍﺀ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ ﻟﺪﻯ ﻛﻞﹼ ﺍﻟﺸﻌﻮﺏ ﻗﺪ ﻳﻜﺸﻒ ﻟﻨﺎ ﻋﻦ ﻭﺟﻮﺩ ﺑﻌﺾ ﳕﺎﺫﺝ‬
‫) ‪(1‬‬
‫ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺴﻴﺎﺳﻲ ﻭﺍﻟﺜﻮﺭﻱ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻔﺘﺮﺓ ﺑﻌﻴﻨﻬﺎ ﻣﻦ ﺍﻟﺰﻣﻦ‪ ،‬ﰲ ﺑﻴﺌﺔ ﺑﻌﻴﻨﻬﺎ"‪.‬‬
‫ﻛﻤﺎ ﺃﻥ ﺣﺪﻳﺜﻨﺎ ﻣﻊ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺣﻮﻝ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺩﻭﺭﻫﺎ ﺃﺛﻨﺎﺀ ﺍﻟﺜﻮﺭﺓ‬
‫ﺍﻟﺘﺤﺮﻳﺮﻳﺔ‪ ،‬ﺯﺍﺩﻧﺎ ﺍﻫﺘﻤﺎﻣﺎ ‪‬ﺬﺍ ﺍﻟﻠﻮﻥ ﺍﻟﺸﻌﱯ‪ ،‬ﻭﺭﺳﺦ ﰲ ﺃﺫﻫﺎﻧﻨﺎ ﻓﻜﺮﺓ ﻫﺎﻣﺔ ﻣﻀﻤﻮ‪‬ﺎ ﺃﻥﹼ ﺍﳉﻬﺎﺩ‬
‫ﺿﺪ ﻓﺮﻧﺴﺎ ﱂ ﻳﻜﻦ ﺑﺎﻟﺴﻼﺡ ﻓﻘﻂ‪ ،‬ﺑﻞ ﻛﺎﻥ ﻟﻠﻜﻠﻤﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺪﺍﺭﺟﺔ ﻭﺍ‪‬ﺴﺪﺓ ﰲ ﺍﳊﻜﺎﻳﺔ ﻭﻗﻌﻬﺎ‬
‫ﺃﻳﻀﺎ‪.‬‬
‫ﻋﻤﻮﻣ‪‬ﺎ ﻓﺈﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻗﺪ ﺃﺛﺒﺘﺖ ﻭﺟﻮﺩﻫﺎ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻣﻦ ﺧﻼﻝ ﲨﻠﺔ ﺍﻟﻮﻇﺎﺋﻒ‬
‫ﺍﻟﱵ ﺃﺩ‪‬ﺎ ﺍﲡﺎﻩ ﺍ‪‬ﺘﻤﻊ ﻣﻦ ﲨﻴﻊ ﺟﻮﺍﻧﺒﻪ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ‪....‬‬
‫ﺇﻥﹼ ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻟﻔﺖ ﺍﻧﺘﺒﺎﻫﻨﺎ ﺃﺛﻨﺎﺀ ﺧﺮﻭﺟﻨﺎ ﳌﻴﺪﺍﻥ ﺍﻟﺒﺤﺚ ﻫﻮ ﻧﺰﻭﻉ ﺍﻟﻔﺮﺩ ﺍﳌﺴﻴﻠﻲ ﺇﱃ‬
‫ﺍﳊﻜﻲ ﺑﺼﻮﺭﺓ ﻣﻠﻔﺘﺔ ﻟﻼﻧﺘﺒﺎﻩ‪ ،‬ﻭﺍﺧﺘﻴﺎﺭﻩ ﺍﳌﻀﺒﻮﻁ ﻷﻭﻗﺎﺕ ﺣﻜﻴﻪ‪ ،‬ﺣﻴﺚ ﺗﻈﻬﺮ ﺃﻏﻠﺐ ﺍﳊﻜﺎﻳﺎﺕ‬
‫ﺑﻌﺪ ﻭﻗﺖ ﺍﻟﻌﻤﻞ‪ ،‬ﳝﻸ ﻣﻦ ﺧﻼﳍﺎ ﺍﻟﻔﺮﺩ ﻭﻗﺖ ﻓﺮﺍﻏﻪ‪ ،‬ﻭﻳﺪﻓﻊ ﻋﻨﻪ ﺍﻟﺸﻌﻮﺭ ﺑﺎﳌﻠﻞ ﺧﺎﺻﺔ ﰲ ﻟﻴﺎﱄ‬
‫ﺍﻟﺸﺘﺎﺀ ﺍﻟﺒﺎﺭﺩﺓ‪ ،‬ﺍﻟﻄﻮﻳﻠﺔ‪ ،‬ﺃﻳﻦ ﲡﺘﻤﻊ ﺍﻟﻌﺎﺋﻠﺔ ﺑﺼﻐﲑﻫﺎ ﻭﻛﺒﲑﻫﺎ ﻟﻼﺳﺘﻤﺘﺎﻉ ﺑﺴﻤﺎﻉ ﺍﳊﻜﺎﻳﺎﺕ‪،‬‬
‫ﻭﺇﻋﻤﺎﻝ ﺍﻟﻔﻜﺮ ﳊﻞ ﺃﻟﻐﺎﺯﻫﺎ ﻭﺍﻟﺘﻨﺒﺆ ﺑﺎﻟﻨﻬﺎﻳﺔ ﺍﳌﺘﻮﻗﻌﺔ ﻷﺣﺪﺍﺛﻬﺎ" ﺣﻴﺚ ﻳﻨﺘﻘﻞ ﻣﻦ ﻋﺎﱂ ﳛﻜﻤﻪ ﻣﻨﻄﻖ‬
‫ﺍﳊﻴﺎﺓ ﺍﻟﻌﻤﻠﻴﺔ ﻭﺍﳉﺪﻳﺔ ﻟﻼﻟﺘﺤﺎﻕ ﲟﻨﻄﻖ ﻣﻐﺎﻳﺮ ﻻ ﳜﻀﻊ ﻟﻨﻔﺲ ﺍﻟﻘﻮﺍﻋﺪ‪ ،‬ﻳﺘﻤﻴﺰ ﺑﺎﻟﻐﺮﺍﺑﺔ ﻭﺍﻟﻔﻌﻞ‬
‫) ‪(2‬‬
‫ﺍﳋﺎﺭﻕ‪ ،‬ﻭﻳﺮﻣﻲ ﺇﱃ ﺍﻹﺩﻫﺎﺵ ﻭﻣﻌﺎﻳﺸﺔ ﳐﺘﻠﻒ ﺍﳌﻮﺍﻗﻒ ﺍﳌﺘﻨﺎﻗﻀﺔ ﻭﺍﻟﻘﻮﻯ ﺍﳌﺘﺼﺎﺭﻋﺔ "‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‪ ،‬ﺃﺑﺪﻋﻬﺎ ﺍﻹﻧﺴﺎﻥ ﺍﶈﻠﻲ ﻟﻠﻤﻨﻄﻘﺔ ﻟﲑﺳﻢ ﻣﻦ‬
‫ﺧﻼﳍﺎ ﻣﻌﺎﱂ ﺣﻴﺎﺗﻪ‪ ،‬ﻭﻳﻠﺒ‪‬ﻲ ﺭﻏﺒﺎﺗﻪ ﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﺒﻴﻮﻟﻮﺟﻴﺔ‪،‬ﺑﻞ ﻭﻣﻦ ﺧﻼﳍﺎ ﺍﺳﺘﻄﺎﻉ ﺍﻟﻔﺮﺩ ﺍﳌﺴﻴﻠﻲ ﺃﻥ‬
‫ﳛﺎﻓﻆ ﻋﻠﻰ ﺭﻣﻮﺯ ﻫﻮﻳﺘﻪ ﺍﳌﺘﻤﺜﹼﻠﺔ ﰲ ﺍﻟﻠﻐﺔ ﻭﺍﻟﺪﻳﻦ ﻭﺍﻟﻮﻃﻦ‪.‬‬
‫‪-2‬ﺷﺮﻭﻁ ﺭﺍﻭﻱ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸ‪‬ﻌﺒﻴﺔ ‪:‬‬
‫ﺍﳊﻜﺎﻳﺔﹸ ﻭﺍﳊﺎﻛﻲ‪ ،‬ﺷﻴﺌﺎﻥ ﻣﺘﻼﺯﻣﺎﻥ ﻻ ﳝﻜﻦ ﺍﻟﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ ﺃﺑﺪ‪‬ﺍ‪ ،‬ﻓﺎﳊﻜﺎﻳﺔ ﻭ‪‬ﺟﺪﺕ ﳋﺪﻣﺔ‬
‫ﻣﺴﺘﻤﻌﻴﻬﺎ ﺑﻮﺍﺳﻄﺔ ﺭﺍﻭﻳﻬﺎ‪ ،‬ﺍﻟﺬﻱ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ ﻟﺴﺎ‪‬ﺎ ﺃﻭ ﺻﻮ‪‬ﺎ ﺍﻟﺬﻱ ﳜﱪﻧﺎ ﺑﻮﻗﺎﺋﻌﻬﺎ ‪.‬‬

‫)‪ (1‬ﻋﺰ ﺍﻟﺪﻳﻦ ﺇﲰﺎﻋﻴﻞ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﻟﺴﻮﺩﺍﻥ‪،‬ﺩﺍﺭﺳﺔ ﰲ ﻓﻨﻴﺔ ﺍﳊﻜﺎﻳﺔ ﻭﻭﻇﻴﻔﺘﻬﺎ‪،‬ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﺘﺄﻟﻴﻒ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪) ،‬ﺩ‪.‬ﻁ(‬
‫‪ 1971‬ﻡ ﺹ‪. 189‬‬
‫)‪ (2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ ‪ :‬ﺍﻟﺒﻄﻞ ﺍﳌﻠﺤﻤﻲ ﻭﺍﻟﺒﻄﻞ ﺍﻟﺼﺤﻴﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻔﻮﻱ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.143‬‬
‫‪- 91 -‬‬
‫ﻛﻤﺎ ﳝﺜﹼﻞ ﻫﺬﺍ ﺍﻷﺧﲑ ﻃﺮﻓﺎ ﻣﻬﻤ‪‬ﺎ ﰲ ﺍﻧﺘﺸﺎﺭ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﺭﻭﺍﺟﻬﺎ ﰲ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ‪،‬‬
‫ﺇﺫ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ " ﺃﺭﺑﻌﺔ ﻋﻮﺍﻣﻞ ﺗﻠﻌﺐ ﺩﻭﺭ‪‬ﺍ ﻫﺎﻣ‪‬ﺎ ﰲ ﺭﻭﺍﺝ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﲢﺮﻳﺮﻫﺎ ﺍﶈﻠﹼﻲ‬
‫ﻭﻫﻲ‪ :‬ﺍﳌﻜﺎﻥ ﻭﺍﻟﺰﻣﺎﻥ ﻭﺍﻟﺮﺍﻭﻱ ﻭﺍ‪‬ﺘﻤﻊ )‪(...‬ﺃﻣ‪‬ﺎ ﺍﻟﻌﺎﻣﻞ ﺍﻟﺜﺎﻟﺚ‪ ،‬ﻓﻬﻮ ﺍﻟﺮ‪‬ﺍﻭﻱ ﺍﻟﺬﻱ ﻳﻌﺘﻤﺪ ﰲ‬
‫ﻣﺎﺩﺗﻪ ﻋﻠﻰ ﺍﻷﻗﺎﺻﻴﺺ ﺍﻟﱵ ﺗﻨﺎﺳﺐ ﺫﻭﻕ ﺳﻜﺎﻥ ﺍﻟﺒﻼﺩ ﻭﺍﻟﻔﺘﺮﺓ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﳊﺎﻟﻴﺔ‪ ،‬ﻓﻴﻀﻴﻒ ﻭﻳﻌﺪ‪‬ﻝ‬
‫) ‪(1‬‬
‫ﺣﺴﺐ ﺳﻌﺔ ﺧﻴﺎﻟﻴﺔ ﻭﻗﻮﺓ ﺫﺍﻛﺮﺗﻪ ﻭﺩﻗﺔ ﻟﻐﺘﻪ ﻭﻏﺮﺿﻪ ﺍﳋﺎﺹ‪"...‬‬
‫ﺇﺫﻥ ﳒﺎﺡ ﺍﳊﻜﺎﻳﺔ ﻣﺘﻮﻗﻒ ﻋﻠﻰ ﺭﺍﻭﻳﻬﺎ ﺍﻟﺬﻱ ﻣﻦ ﺍﻟﻮﺍﺟﺐ ﺃﻥ ﻳﺘﻮﻓﺮ ﻋﻠﻰ ﺷﺮﻭﻁ ﻫﻲ ﰲ‬
‫ﺍﳊﻘﻴﻘﺔ ﻓﻨﻴﺎﺕ ﻟﻌﻤﻠﻴﺔ ﺍﻟﻘﺺ ﺍﻟﻨﺎﺟﺤﺔ‪.‬‬
‫" ﻓﺎﻟﺮﺍﻭﻱ ﻗﺒﻞ ﺃﻥ ﻳﺮﻭﻱ ﺷﻴﺌﺎ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﳑﺘﻠﻜﺎ ﳌﺎ ﳝﻜﻦ ﺃﻥ ﻧﺴﻤﻴﻪ ﺍﳌﻠﻜﺔ ﺍﻟﺮﻭﺍﺋﻴﺔ‪،‬ﻭﻧﻌﲏ‬
‫ﺑﺬﻟﻚ ﺇﲨﺎﻻ ﺍﳌﻌﺮﻓﺔ ﺍﻟﻀﻤﻨﻴﺔ ﻟﻠﻨﻤﻮﺫﺝ ﺍﻟﺮﻭﺍﺋﻲ")‪ ،(2‬ﻓﻬﻀﻢ ﺍﻟﺮﺍﻭﻱ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﻧﺎﺣﻴﺔ‬
‫ﻣﻀﻤﻮ‪‬ﺎ‪ ،‬ﻭﺃﺣﺪﺍﺛﻬﺎ ﻭﻭﻗﺎﺋﻌﻬﺎ ﺍﳌﺘﺸﻌﺒﺔ ﻳﺴﻬ‪‬ﻞ ﻋﻠﻴﻪ ﻣﻬﻤ‪‬ﺔ ﻧﻘﻠﻬﺎ ﺇﱃ ﲨﻬﻮﺭ ﺍﳌﺴﺘﻤﻌﲔ ﺩﻭﻥ ﺗﻜﻠﻒ‬
‫ﺃﻱ ﻋﻨﺎﺀ ﺃﻭ ﺟﻬﺪ ﰲ ﺫﻟﻚ‪.‬‬
‫ﺧﺎﺻﺔ ﻭﺃﻥﹼ ﲨﻬﻮﺭ ﺍﻟﻘﺺ ﻻ ﻳﻜﺘﻔﻲ ﲟﺠﺮ‪‬ﺩ ﺍﻻﺳﺘﻘﺒﺎﻝ‪،‬ﺑﻞ ﻳﻌﺪ‪ ‬ﻃﺮﻓﺎ ﻣﺸﺎﺭﻛﹰﺎ ﻭﻓﻌﺎﻻﹰ ﰲ‬
‫ﻋﻤﻠﻴﺔ ﺍﻟﻘﺺ‪ ،‬ﻓﺎﳉﻤﺎﻋﺔ ﻫﻲ ﺍﻟﱵ ﲣﺘﺎﺭ ﺍﻟﺮﺍﻭﻱ ﻭ‪‬ﻴﺊ ﻟﻪ ﺍﳌﻜﺎﻥ ﺍﳌﻨﺎﺳﺐ ‪،‬ﻭﺗ‪‬ﺆﺛﺮﻩ ﺑﺎﻟﻔﺮﺍﺵ ﺍﻟﻨﺎﻋﻢ‬
‫ﻭﻳﻠﺘﻔﻮﻥ ﺣﻮﻟﻪ ﺑﻜﻴﻔﻴﺔ ﺗﺴﻬﻞ ﻋﻠﻴﻪ ﻋﻤﻠﻴﺔ ﺇﻳﺼﺎﻝ ﺻﻮﺗﻪ ﻟﻜﻞﹼ ﺃﻓﺮﺍﺩ ﺍﳉﻤﺎﻋﺔ‪ ،‬ﻭﲤﻜﻨﻬﻢ ﻣﻦ ﻣﻼﺣﻈﺔ‬
‫ﺇﺷﺎﺭﺍﺗﻪ ﻭﺗﻌﺎﺑﲑ ﻣﻼﻣﺢ ﻭﺟﻬﻪ‪.‬‬
‫ﻭﻫﻢ ﺍﻟﺬﻳﻦ ﻳﻘﺘﺮﺣﻮﻥ ﻋﻠﻴﻪ ﺍﻟﻘﺼﺔ ﺍﳌﺮﻏﻮﺏ ﲰﺎﻋﻬﺎ‪،‬ﻭﻗﺪ ﻳﻘﻊ ﺍﻟﻨﻘﺎﺵ ﺑﲔ ﺍﻟﺮﺍﻭﻱ ﻣﻦ ﻧﺎﺣﻴﺔ ﻭﺑﲔ‬
‫ﺃﻋﻀﺎﺀ ﺍﳉﻤﺎﻋﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﺣﻮﻝ ﺍﻟﻘﺼﺔ ﺍﳌﺮﺷﺤﺔ‪.‬‬
‫"ﻭﺍﻟﺮﻭﺍﺓ ﰲ ﺭﺣﻠﺘﻬﻢ ﻣﻊ ﺍﻟﺮﻭﺍﻳﺔ ﻳﺘﻔﺎﻭﺗﻮﻥ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ ﻓﻴﻤﺎ ﳜﺺ ﺍﺗ‪‬ﺴﺎﻉ ﺣﺼﻴﻠﺘﻬﻢ ﻣﻦ‬
‫ﺍﻟﺘﺮﺍﺙ ﺍﻟﻘﺼﺼﻲ‪ ،‬ﻭﻣﻮﺍﻫﺒﻬﻢ ﺍﻟﻔﺰﻳﻮﻟﻮﺟﻴﺔ ﺍﻟﱵ ﺗﺘﻌﻠﻖ ﺑﺎﳍﻴﺌﺔ ﻭﺍﻟﺼﻮﺕ ﻭﻣﻼﻣﺢ ﺍﻟﻮﺟﻪ‪ ،‬ﻭﺳﻴﻄﺮ‪‬ﻢ‬
‫ﻋﻠﻰ ﺃﺩﻭﺍ‪‬ﻢ ﺍﻟﻔﻨﻴﺔ ﰲ ﻋﻤﻠﻴﺔ ﺍﻟﻘﺺ‪ ،‬ﻭﻗﻮﺓ ﺫﺍﻛﺮ‪‬ﻢ ﻭﻗﺪﺭ‪‬ﻢ ﻭﺟﺮﺃ‪‬ﻢ‪ ،‬ﻋﻠﻰ ﺍﳋﻠﻖ ﻭﺍﻹﺑﺪﺍﻉ‬
‫ﻭﺍﻟﺘﺠﺪﻳﺪ‪ ،‬ﻭﺗﻠﻌﺐ ﻛﻞﹼ ﻫﺬﻩ ﺍﻟﻘﺪﺭﺍﺕ ﺩﻭﺭﻫﺎ ﰲ ﺟﺬﺏ ﺍﻧﺘﺒﺎﻩ ﺍﳉﻤﺎﻋﺔ‪ ،‬ﻭﺩﳎﻬﺎ ﰲ ﺍﳉﻮ ﺍﻟﺬﻱ‬
‫) ‪(3‬‬
‫ﲣﻠﻘﻪ ﺍﻟﻘﺼﺔ"‬

‫)‪ (1‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ ‪،‬ﺹ‪.106 ،105‬‬
‫)‪ (2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪ ،‬ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ‪،‬ﺹ ‪.34‬‬
‫)‪ (3‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ ‪،‬ﺹ‪.35‬‬
‫‪- 92 -‬‬
‫ﻟﺬﻟﻚ ﳒﺪ ﺃﻧﻔﺴﻨﺎ ﻧﻔﻀ‪‬ﻞ ﲰﺎﻉ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﺃﻓﻮﺍﻩ ﺍﻟﺮﻭﺍﺓ ﻛﺒﺎﺭ ﺍﻟﺴﻦ‪ ،‬ﻻﻋﺘﻘﺎﺩﻧﺎ‬
‫ﺑﺄﻧ‪‬ﻬﻢ ﺃﺻﺤﺎ‪‬ﺎ ﺍﻟﺬﻳﻦ ﺃﺑﺪﻋﻮﻫﺎ‪.‬ﻛﻤﺎ ﺃﻥ ﻃﺮﻳﻘﺔ ﻋﺮﺿﻬﻢ ﻟﻠﻘﺼﺺ ﺍﻟﺸﻌﱯ ﻭﺍﻟﱵ ﲢﻮﻱ ﻧﻮﻋﺎ ﻣﻦ‬
‫ﺍﳉﻮﺩﺓ ﻭﺍﻟﱪﺍﻋﺔ ﻭﺍﻟﺪﻗﺔ ﲡﻌﻠﻨﺎ ﻧﺴﻠﹼﻢ ﺑﻮﺍﻗﻌﻴﺔ ﺃﺣﺪﺍﺛﻬﺎ‪،‬ﻭﻧﺘﺄﺛﺮ ‪‬ﺎ‪ ،‬ﺑﻞ ﻭﺗﻔﻘﺪﻧﺎ ﺻﻠﺘﻨﺎ ﺑﻌﺎﳌﻨﺎ ﺍﻟﺬﻱ‬
‫ﳓﻴﺎﻩ ﻭﻗﺘﻬﺎ ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﻟﺮ‪‬ﺍﻭﻱ ﰲ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ ﺗﻄﻠﻖ ﻋﻠﻴﻪ ﺗﺴﻤﻴﺎﺕ ﻋﺪﺓ ﻓﻬﻮ‬
‫"ﺍﻟـﭭﻭ‪‬ﺍﻝ" ﻭ" ﺍﳋﺮﺍﻑ"ﻭ"ﺍﳌﺪﺍﺡ" ﻭ "ﺍﻟﺮﺍﻭﻱ" ﻭ " ﺍﻟﻘﺼﺎﺹ" ﻭ "ﺍﳊﺎﻛﻲ" ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻟﺴ‪‬ﻤﺎﺕ‬
‫ﺍﻟﱵ ﲣﺘﻠﻒ ﺑﺎﺧﺘﻼﻑ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﱵ ﻳﺆﺩﻳﻬﺎ ‪.‬‬
‫"ﻓﺎﻟﻘﻮ‪‬ﺍﻝ ﻭﺍﳋﺮ‪‬ﺍﻑ ﻣﺜﻼ ﻳﺴﺘﻌﻤﻼﻥ ﰲ ﺍﳌﻨﺎﻃﻖ ﺍﻟﺼﺤﺮﺍﻭﻳﺔ ﻭﺃﺳﻮﺍﻕ ﺍﻟﻘﺮﻯ ﺃﻛﺜﺮ ﳑﺎ‬
‫ﻳﺴﺘﺨﺪﻣﺎﻥ ﰲ ﺍﳌﺪﻥ‪ ،‬ﺃﻣﺎ " ﺍﳌﺪ‪‬ﺍﺡ" ﻓﻬﻮ ﳝﺪﺡ ﻭﻳﺄﰐ ﺑﺎﻟﺸﻌﺮ ﺍﳌﻠﺤﻮﻥ ﺃﻛﺜﺮ ﻣﻨﻪ ﺑﺎﻟﻘﺼﺔ ﺍﻟﻨﺜﺮﻳﺔ‬
‫) ‪(1‬‬
‫ﺍﶈﻀﺔ‪ ،‬ﻭﻳﻨﻘﺮ ﻋﻠﻰ ﺍﻟﺒﻨﺪﻳﺮ‪ ،‬ﻟﻴﺼﻄﺤﺐ ﺃﻗﻮﺍﻟﻪ‪ ،‬ﻟﻜﻨﻪ ﰲ ﺍﻷﺻﻞ ﻫﻮ ﺍﻟﻘﺼﺎﺹ ﺍﳊﻘﻴﻘﻲ‪"..‬‬
‫ﻋﻤﻮﻣ‪‬ﺎ ﻓﺈﻥﹼ ﻫﺬﺍ ﺍﻻﺧﺘﻼﻑ ﺍﻟﺒﺎﺋﻦ ﰲ ﺗﺴﻤﻴﺎﺕ ﺍﻟﺮﺍﻭﻱ ﻭﺃﺳﺒﺎﺏ ﻫﺬﻩ ﺍﻟﺘﺴﻤﻴﺎﺕ ﻻﻳﻬﻤ‪‬ﻨﺎ‬
‫ﺑﻘﺪﺭ ﻣﺎ ‪‬ﻤ‪‬ﻨﺎ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﱵ ﻳﺆﺩ‪‬ﻳﻬﺎ ﻭﺍﻧﻌﻜﺎﺳﺎ‪‬ﺎ ﻋﻠﻰ ﺍ‪‬ﺘﻤﻊ‪،‬ﻷﻥﹼ ﺩﻭﺭ ﺍﻟﻘﺎﺹ ﺃﻭ ﺍﻟﺮﺍﻭﻱ ﻳﺒﻘﻲ‬
‫ﻣﻬﻤ‪‬ﺎ ﰲ ﺻﻘﻞ ﺣﻴﺎﺓ ﺍﻷﺟﻴﺎﻝ ﻭﺗﻮﺟﻴﻬﻬﺎ ﺍﻟﻮﺟﻬﺔ ﺍﻟﺼﺤﻴﺤﺔ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺍﳌﻌﻠﹼﻢ ﺍﻷﻭ‪‬ﻝ ﰲ ﺣﻴﺎ‪‬ﻢ‪.‬‬
‫ﺇﻥﹼ ﻟﻔﻈﺔ"ﻗﺼﺎﺹ" ﻭﻟﻔﻈﺔ" ﺣﺎﻛﻲ" ﳘﺎ ﺍﻷﻛﺜﺮ ﺷﻴﻮﻋ‪‬ﺎ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ ﺣﻴﺚ‬
‫ﺗﻄﻠﻘﺎﻥ ﻋﻠﻰ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﻳﻘﺺ ﻭﳛﻜﻲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻟﻠﻨﺎﺱ‪ ،‬ﺳﻮﺍﺀ ﰲ ﺍﻷﻣﺎﻛﻦ ﺍﳋﺎﺻﺔ‬
‫ﻛﺎﳌﻨﺰﻝ‪ ،‬ﻭﺍﳊﻲ ‪...‬ﺃﻭ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻌﺎﻣﺔ‪ ،‬ﻛﺎﻷﺳﻮﺍﻕ‪ ،‬ﻭﺍﳌﻘﺎﻫﻲ ﻭﺍﳌﺴﺎﺟﺪ ﻭﺃﻣﺎﻛﻦ ﺍﻟﻌﻤﻞ ﺍﳉﻤﺎﻋﻲ‪.‬‬
‫ﺣﻴﺚ ﺗﻠﺘﻒ‪ ‬ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺼﻐﲑﻫﺎ ﻭﻛﺒﲑﻫﺎ ﺣﻮﻝ ﺍﳊﺎﻛﻲ ﻭﻛﻠﹼﻬﻢ ﺷﻐﻒ ﻭﺭﻏﺒﺔ ﰲ ﲰﺎﻉ‬
‫ﺍﻟﻘﺼﺔ ﻭﺃﺣﺪﺍﺛﻬﺎ ﺩﻭﻥ ﺗﻮﻗﻒ‪.‬‬
‫ﺣﻴﺚ ﲣﱪﻧﺎ ﻭﺍﺣﺪﺓ ﻣﻦ ﺃﻋﻴﺎﻥ ﺍﳌﻨﻄﻘﺔ )‪ (2‬ﺃﻥﹼ ﺳﻌﻴﺪ ﺍﳊﻆ ﻣﻦ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﺄﺧﺬ ﻟﻨﻔﺴﻪ ﻣﻜﺎﻧﺎ‬
‫ﻗﺮﺏ ﺭﺍﻭﻱ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﺇﺫ ﻳﺘﻬﺎﻓﺖ ﺍﳉﻤﻴﻊ ﻣﻦ ﺃﺟﻞ ﺍﻻﺳﺘﻤﺎﻉ ﻟﻮﻗﺎﺋﻌﻬﺎ ﺑﻮﺿﻮﺡ‪ ،‬ﻭﺍﻻﺳﺘﻤﺘﺎﻉ‬
‫ﲟﺸﺎﻫﺪﺓ ﺗﻌﺎﺑﲑ ﻭﺟﻪ ﺍﳊﺎﻛﻲ ﺃﺛﻨﺎﺀ ﻋﻤﻠﻴﺔ ﺍﳊﻜﻲ‪ ,‬ﻭﺗﺬﻫﺐ ﺍﻟﺮﻭﺍﻳﺔ ﻭﻫﻲ ﺑﺼﺪﺩ ﺍﳊﺪﻳﺚ ﻋﻦ‬
‫ﺭﺍﻭﻱ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺇﱃ ﺃﻧﻪ ﻟﻴﺲ ﻛﻞﹼ ﻣﻦ ﻫﺐ‪ ‬ﻭﺩﺏ‪ ‬ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﳛﻜﻲ‪ ،‬ﺑﻞ ﲨﻬﻮﺭ ﺍﳌﺴﺘﻤﻌﲔ‬
‫ﻫﻮ ﺍﻟﺬﻱ ﳜﺘﺎﺭ ﺍﳊﺎﻛﻲ ﺍﻷﻗﺪﺭ ﻭﺍﻷﻛﻔﺄ ﺃﺩﺍﺀ‪ ،‬ﻭﺍﻷﻛﺜﺮ ﺷﻬﺮﺓ ﰲ ﺍﻟﻘﺮﻳﺔ ﺃﻭ ﺍﳊﻲ ﺃﻭ ﺍﻟﺴﻮﻕ ﺃﻭ‪....‬‬

‫)‪ (1‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ ‪،‬ﺹ‪.119‬‬

‫)‪ (2‬ﺍﻟﺮﺍﻭﻱ‪ :‬ﺏ‪،‬ﻋﺎﺋﺸﺔ ﻣﻦ ﻣﻮﺍﻟﻴﺪ‪1945‬ﻡ ﺭﺑﺔ ﺑﻴﺖ‪ ،‬ﺑﺮﻫﻮﻡ‬
‫‪- 93 -‬‬
‫ﻭﺑﺴﺆﺍﻟﻨﺎ ﻋﻦ ﻋﻼﻣﺎﺕ ﺍﻟﻜﻔﺎﺀﺓ ﻭﺍﻟﻘﺪﺭﺓ‪ ،‬ﻗﺎﻟﺖ ‪ :‬ﻳﻜﻔﻴﻪ ﺃﻥﹾ ﻳ‪‬ﻠﻢ‪ ‬ﲜﻤﻴﻊ ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﻻ ﻳﻘﻄﻊ‬
‫ﺑﻴﻨﻬﺎ‪ ،‬ﻛﻤﺎ ﻳﺘﻤﻴﺰ ﺑﺎﳉﺮﺃﺓ ﻭﻻ ﻭﺟﻮﺩ ﻟﻠﻨﺴﻴﺎﻥ ﰲ ﻗﺎﻣﻮﺳﻪ‪.‬‬
‫ﻭﺍﻟﺮﺍﻭﻱ ﺍﻟﺬﻛﻲ ﺣﺴﺒﻬﺎ ﻫﻮ ﺍﻟﺬﻱ ﳚﻌﻞ ﺍﳉﻤﺎﻋﺔ ﺗﺴﺘﺠﻴﺐ ﻟﻪ‪ ،‬ﺑﻞ ﻭﺗﺆﻣﻦ ﺑﻜﻞ ﻛﻠﻤﺔ ﻳﻘﻮﳍﺎ‪.‬‬
‫ﺇﻥﹼ ﻫﺬﻩ ﺍﻟﺼﻔﺎﺕ ﻫﻲ ﻋﻼﻣﺎﺕ ﳌﺎ ﻳﺴﻤﻰ‪ ‬ﺑﺎﻟﺮﺍﻭﻱ ﺍﶈﺘﺮﻑ ﺍﻟﺬﻱ ﳒﺪﻩ ﺩﺍﺋﻤﺎ" ﺃﻛﺜﺮ ﺣﺮﺻ‪‬ﺎ‬
‫ﻋﻠﻰ ﻣﺮﺍﻋﺎﺓ ﻣﺰﺍﺝ ﺍﳉﻤﺎﻋﺔ ﻭﺭﻏﺒﺎ‪‬ﻢ‪ ،‬ﻓﻬﻮ ﻻ ﻳﺸﺒﻊ ﻫﻮﺍﻳﺔ ﻭﻧﺰﻋﺎﺕ ﰲ ﻧﻔﺴﻪ ﻓﻘﻂ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻣﺜﻞ ﺍﻟﺮﺍﻭﻱ ﻏﲑ ﺍﶈﺘﺮﻑ‪ ،‬ﺇﳕﺎ ﻫﻮ ﻳﺆﺩﻱ ﻋﻤﻼﹰ‪،‬ﻻﺑﺪ ﻣﻦ ﺃﻥ ﻳﺘﻤﻠﻖ ﺍﻟﻨﺎﺱ ﺍﳌﻮﺟ‪‬ﻪ ﺇﻟﻴﻬﻢ ﻫﺬﺍ‬
‫ﺍﻟﻌﻤﻞ‪ ،‬ﻟﻴﻘﺒﻠﻮﻩ‪ ،‬ﻭﳛﻮﺯ ﺭﺿﺎﺀﻫﻢ‪ ،‬ﻓﻴﻀﻊ ﰲ ﺣﺴﺎﺑﻪ ﺃﻧﻪ ﻛﻠﹼﻤﺎ ﺃﺟﺎﺩ ﰲ ﺍﻷﺩﺍﺀ‪ ،‬ﻭﻗﺪﻡ ﻣﺎ ﻻﺀﻡ ﻣﺰﺍﺝ‬
‫) ‪(1‬‬
‫ﲨﻬﻮﺭﻩ‪ ،‬ﺟﺬﺏ ﻋﺪﺩ‪‬ﺍ ﺃﻛﱪ ﻣﻦ ﺍﻟﻨﺎﺱ"‬
‫ﻋﻤﻮﻣ‪‬ﺎ ﻓﺈﻥ ﺭﺍﻭﻱ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﳝﺜﹼﻞ ﻃﺮﻓﺎ ﻣﻬﻤ‪‬ﺎ ﰲ ﺭﻭﺍﺝ ﺍﳊﻜﺎﻳﺔ‬
‫ﻭﺍﻧﺘﺸﺎﺭﻫﺎ‪ ،‬ﺑﻞ ﻭﳒﺎﺣﻬﺎ ﺃﻳﻀﺎ‪ ،‬ﻷﻧﻪ ﻭﺑﻌﺒﻘﺮﻳﺘﻪ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﺘﺴﻠﹼﻞ ﺇﱃ ﻧﻔﻮﺱ ﻣﺴﺘﻤﻌﻴﻪ ﻭﻳﺸﺪ‪‬‬
‫ﺍﻫﺘﻤﺎﻣﻬﻢ ‪.‬‬
‫ﻓﻌﻠﻰ ﺣﺪ ﺗﻌﺒﲑ ﺃﺣﺪ ﺍﻟﺮ‪‬ﻭﺍﺓ ﺃﻥ ﻗﻮ‪‬ﺓ ﻭﺷﺪﺓ ﺗﺄﺛﲑ ﺍﳊﺎﻛﻲ ﻓﻴﻬﻢ ﺗﺼﻞ ‪‬ﻢ ﺇﱃ ﺣﺪ‪ ‬ﺍﻟﺒﻜﺎﺀ ﻛﻤﺎ ﰲ‬
‫ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﱵ ﺗﺘﻨﺎﻭﻝ ﻣﻮﺍﺿﻴﻊ ﺍﻟﻴﺘﻢ ﻭﻗﺴﻮﺓ ﺯﻭﺟﺔ ﺍﻷﺏ‪ ،‬ﻭﻏﲑﻫﺎ‪....‬‬
‫ﻛﻤﺎ ﺃﻥﹼ ﺍﻷﻃﻔﺎﻝ ﺍﻟﺼﻐﺎﺭ ﻳﺼﺪﻗﻮﻥ ﻣﺎ ﳛﻜﻰ ﳍﻢ ﻣﻦ ﺍﻟﻘﺼﺺ ﻋﻠﻰ ﺃﻧﻪ ﻭﻗﻊ ﺑﺎﻟﻔﻌﻞ ﰲ ﺯﻣﻦ‬
‫ﻣﻀﻰ‪ ،‬ﻭﺃﻥ ﺷﺨﻮﺹ ﺍﻟﻘﺼﺔ ﻣﺜﻞ ﺍﳉﻦ ﻭﺍﻷﻏﻮﺍﻝ ﻭﺍﻟﺴﺤﺮﺓ ﻫﻢ ﻣﻮﺟﻮﺩﻭﻥ ﰲ ﻣﻜﺎﻥ ﻣﺎ ﻣﻦ ﻫﺬﺍ‬
‫ﺍﻟﻌﺎﱂ ‪.‬‬
‫ﻟﺬﻟﻚ ﲡﺪ ﺍﻟﻜﺒﺎﺭ ﻭﺍﻷﻣﻬﺎﺕ ﺗﺴﺘﺨﺪﻣﻦ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﺃﻱ ﻓﻜﺮﺓ ﻭﺟﻮﺩ ﺍﳉﻦ ﻭﺍﻟﺴﺤﺮﺓ‬
‫ﻟﺘﺨﻮﻳﻒ ﺃﺑﻨﺎﺋﻬﻢ ﻭﺇﺟﺒﺎﺭﻫﻢ ﻋﻠﻰ ﻃﺎﻋﺘﻬﻢ ﻭﺍﻟﺘﻘﻴ‪‬ﺪ ﺑﺄﻭﺍﻣﺮﻫﻢ ﻭﺇﻻﹼ ﺳﻴﺘﻢ ﺍﺳﺘﺤﻀﺎﺭﻫﻢ ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥﹼ ﺭﻭﺍﻳﺔ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻛﺎﻧﺖ ﺣﻜﺮ‪‬ﺍ ﻋﻠﻰ‬
‫ﺻﻨﻒ ﺍﻟﻨﺴﺎﺀ‪ ،‬ﻭﺧﺎﺻﺔ ﺍﻟﻌﺠﺎﺋﺰ ﻣﻨﻬﻦ‪ ،‬ﺣﻴﺚ ﲡﺘﻤﻊ ﺣﻮﻝ ﺍﻟﺮﺍﻭﻳﺔ ﺍﻟﻨﺴﺎﺀ ﻭﺍﻷﻃﻔﺎﻝ‪ ،‬ﺑﻞ ﻭﺣﱴ‬
‫ﺍﻟﺮﺟﺎﻝ ﺃﻳﻀﺎ‪ ،‬ﻟﻜﻦ ﻭﲟﺮﻭﺭ ﺍﻟﺰﻣﻦ" ﲢﻮﻟﺖ ﻣﻦ ﺍﻟﻨﺴﺎﺀ ﺇﱃ ﺍﻟﺮﺟﺎﻝ‪ ،‬ﻛﻤﺎ ﺃﻥ ﳎﺘﻤﻊ ﺍﻟﻘﺺ ﱂ ﻳﻌﺪ‬
‫ﻳﺘﻜﻮ‪‬ﻥ ﻣﻦ ﺍﻷﻃﻔﺎﻝ ﺍﻟﺬﻳﻦ ﳚﻠﺴﻮﻥ ﺣﻮﻝ ﺟﺪ‪‬ﺍ‪‬ﻢ ﻭﻣﺮﺑﻴﺎ‪‬ﻢ‪ ،‬ﺑﻞ ﺃﺻﺒﺢ ﻳﻀﻢ ﺍﻟﺮﺟﺎﻝ‬
‫) ‪(2‬‬
‫ﻭﺍﻟﺸﺒﺎﺏ"‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪،‬ﺹ‪.49‬‬

‫)‪ (2‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ ‪،‬ﺹ‪.119‬‬
‫‪- 94 -‬‬
‫ﺇﻥﹼ ﺍﻧﺘﻘﺎﻝ ﺭﻭﺍﻳﺔ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻣﻦ ﺍﻟﻨﺴﺎﺀ ﺇﱃ ﺍﻟﺮﺟﺎﻝ ﺗﻌﻜﺴﻪ ﻋﺪﺓ‬
‫ﺃﺳﺒﺎﺏ ﻭﺩﻭﺍﻓﻊ ﺇﻥ ﺻﺢ ﺍﻟﺘﻌﺒﲑ‪ ،‬ﻳﺄﰐ ﰲ ﻣﻘﺪ‪‬ﻣﺘﻬﺎ ﻃﺒﻴﻌﺔ ﺍ‪‬ﺘﻤﻊ ﺍﳌﺴﻴﻠﻲ ﺍﶈﺎﻓﻈﺔ ﺟﺪ‪‬ﺍ‪ ،‬ﻭﺍﻟﱵ ﲤﻨﻊ‬
‫ﺍﻻﺧﺘﻼﻁ ﺑﲔ ﺍﳉﻨﺴﲔ ﰲ ﺍ‪‬ﻠﺲ ﺍﻟﻮﺍﺣﺪ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﺍﳊﺎﻝ ﰲ ﺍﻟﺴﺎﺑﻖ‪.‬‬
‫ﺿﻒ ﺇﱃ ﺫﻟﻚ ﻃﺒﻴﻌﺔ ﺍﳌﺮﺃﺓ ﺍﳊﻀﻨﻴﺔ‪ ،‬ﺍﻟﱵ ﺗﻮﺻﻒ ﺑـ " ﺑﻨﺖ ﺍﻟﺪ‪‬ﺍﺭ" ﻭﺍﳌﻘﺼﻮﺩ ‪‬ﺎ ﻟﺰﻭﻣﻬﺎ‬
‫ﺑﻴﺘﻬﺎ ﻭﺍﻻﻫﺘﻤﺎﻡ ﺑﻜﻞ ﻣﺴﺘﻠﺰﻣﺎﺗﻪ‪ ،‬ﻭﻋﺪﻡ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﳋﺮﻭﺝ ﻣﻄﻠﻘﺎ‪ .‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺟﻌﻞ ﺛﻘﺎﻓﺘﻬﺎ‬
‫ﳏﺪﻭﺩﺓ‪ ،‬ﰲ ﺣﲔ ﺛﻘﺎﻓﺔ ﺍﻟﺮﺟﻞ ﺍﳌﺴﻴﻠﻲ ﻭﺍﺳﻌﺔ ﻭﺧﻴﺎﻟﻪ ﺃﻭﺳﻊ ﻭﺫﻟﻚ ﺭﺍﺟﻊ ﻟﻄﺒﻴﻌﺔ ﺣﻴﺎﺗﻪ ﺍﻟﱵ‬
‫ﺗﺴﺘﺪﻋﻲ ﺍﻟﺘﻨﻘﻞ ﻣﻦ ﻣﻜﺎﻥ ﻵﺧﺮ ﻭﳐﺎﻟﻄﺔ ﺃﺟﻨﺎﺱ ﻣﺘﻨﻮﻋﺔ‪.‬‬
‫ﻟﺬﻟﻚ ﲡﺪﻧﺎ ﺍﻟﻴﻮﻡ ﻧﺎﺩﺭ‪‬ﺍ ﻣﺎ ﻧﺴﺘﻤﻊ ﺇﱃ ﺣﻜﺎﻳﺔ ﺧﺮﺍﻓﻴﺔ ﻣﻦ ﺃﻓﻮﺍﻩ ﺍﻟﻨﺴﺎﺀ ﺍﻟﻌﺠﺎﺋﺮ‪ ،‬ﰲ ﺣﲔ‬
‫ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺴﺘﻤﻊ ﺇﱃ ﻛﺜﲑ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻮﺍﻗﻌﻲ ﻣﻦ ﻃﺮﻑ ﲨﺎﻋﺔ ﻣﻦ ﺍﻟﺮﺟﺎﻝ‪.‬‬
‫ﻭﻟﻘﺪ ﺳﺄﻟﻨﺎ ﺇﺣﺪﻯ ﺍﻟﺮﺍﻭﻳﺎﺕ‪ ،‬ﻋﻤﺎ ﺇﺫﺍ ﻛﺎﻧﺖ ﲡﻠﺲ ﺑﲔ ﺃﺣﻔﺎﺩﻫﺎ ﻭﲢﻜﻲ ﳍﻢ ﺍﳊﻜﺎﻳﺎﺕ‬
‫ﻛﻤﺎ ﻛﺎﻧﺖ ﺍﻟﻌﺎﺩﺓ ﰲ ﺍﻟﺰﻣﻦ ﺍﻟﺴﺎﻟﻒ‪ ،‬ﺃﺟﺎﺑﺖ ﺑﻌﺒﺎﺭﺓ ﺗﺘﺴ‪‬ﻢ ﺑﺎﻟﻮﺍﻗﻌﻴﺔ ﻭﻗﺎﻟﺖ‪ " :‬ﳓﹾﻜ‪‬ﻴﻮ‪ ‬ﻋ‪‬ﻠﹶﻰ‬
‫ﻫ‪‬ﻤ‪‬ﻮﻣﻨ‪‬ﺎ"‬
‫ﻭﻣﻌﲎ ﻫﺬﺍ ﺃﻥﹼ ﺍﻟﻮﺍﻗﻊ ﺍﻟﺬﻱ ﻳﻌﻴﺸﻪ ﺍﻟﺸﻌﺐ ﺍﻟﻴﻮﻡ ﱂ ﻳﻌﺪ ﻳﺴﻤﺢ ﺑﺮﻭﺍﻳﺔ ﺍﳊﻜﺎﻳﺎﺕ ﺫﺍﺕ‬
‫ﺍﻟﻄﺎﺑﻊ ﺍﻟﺴﺤ‪‬ﺮﻱ ﺍﻟﱵ ﺃﻟﻔﻨﺎﻫﺎ ﻭﻭﺭﺛﻨﺎﻫﺎ ﰲ ﺗﺮﺍﺛﻨﺎ‪ ،‬ﻷﻥ ﻭﺳﺎﺋﻞ ﺍﻹﻋﻼﻡ ﺍﳌﺘﻨﻮﻋﺔ ﻣﻦ ﺗﻠﻔﺰﻳﻮﻥ‬
‫ﻭﺭﺍﺩﻳﻮ‪ ...‬ﻭﻏﲑﻫﺎ‪،‬ﻗﺪ ﺍﺳﺘﻠﻤﺖ ﺍﳌﻬﻤﺔ‪ ،‬ﻓﻜﻴﻒ ﺳﻴﻜﻮﻥ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺒﺴﻴﻄﺔ ﺍﻟﱵ ﺍﺳﺘﻄﺎﻋﺖ‬
‫ﺃﻥ ﺗﻠﻢ‪ ‬ﴰﻞ ﺍﻷﺳﺮﺓ ﻭﺍﳊﻲ ﻭﺍﻟﻘﺮﻳﺔ ﻗﺪﳝﺎ ﺑﻘﺎﺀ ﰲ ﻫﺬﺍ ﺍﻟﺰﻣﻦ ﺍﻟﺮﻗﻤﻲ ﺍﳌﺘﻄﻮﺭ ﺟﺪ‪‬ﺍ ﻭﺍﶈﻴ‪‬ﺮ ﰲ ﻧﻔﺲ‬
‫ﺍﻟﻮﻗﺖ ‪.‬‬
‫ﻛﻤﺎ ﺃﻥﹼ ﺍﳊﻴﺎﺓ ﺍﳌﺮﻳﺮﺓ ﺍﻟﱵ ﺗﻌﻴﺸﻬﺎ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﺗﺮﺩ‪‬ﻱ ﻟﻸﻭﺿﺎﻉ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬
‫ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﻏﲑﻫﺎ ﻫﻲ ﰲ ﺣﺪ ﺫﺍ‪‬ﺎ ﺣﻜﺎﻳﺎﺕ ﻟﻜﻨ‪‬ﻬﺎ ﻭﺍﻗﻌﻴﺔ ﺗﺴﺘﺪﻋﻲ ﺍﻟﻨﻈﺮ ﻓﻴﻬﺎ ﺑﺈﻣﻌﺎﻥ‪.‬‬

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 ‫‪3‬ـ ﺯﻣﻦ ﺣﻜﻲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻲ ﺍﻟﻔﻦ ﺍﻷﻛﺜﺮ ﻇﻬﻮﺭ‪‬ﺍ ﰲ ﺛﻘﺎﻓﺔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ‪،‬ﻷﻧ‪‬ﻬﺎ ﻣﻦ ﺍﻷﳕﺎﻁ‬
‫ﺍﻷﻛﺜﺮ ﺗﺪﺍﻭﻻ ﻭﺍﻷﻛﺜﺮ ﺗﻨﻮﻋﺎ" ﻧﻈﺮ ﳌﺮﻭﻧﺔ ﺷﻜﻠﻬﺎ‪ ،‬ﺃﻭ ﺑﺎﻷﺣﺮﻯ ﻟﻌﺪﻡ ﺍﺳﺘﻘﺮﺍﺭﻩ‪ ،‬ﻓﻬﻲ ﻻ ﺗﻠﺘﺰﻡ‬
‫ﲝﺪﻭﺩ ﺷﻜﻠﻴﺔ ﺩﻗﻴﻘﺔ‪ ،‬ﻛﻤﺎ ﻟﻴﺴﺖ ﻣﻌﻨﻴﺔ ﺑﺎﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﻨﻤﻄﻴﺔ ﺍﻟﱵ ﺗ‪‬ﺴﺒﹺﻖ ﺍﳊﻜﻲ ﻭﺗﺘﻠﻮﻩ‪ ،‬ﻭﻻ ﺗﺘﻘﻴ‪‬ﺪ‬
‫ﺑﻮﻗﺖ ﻣﻌﻴ‪‬ﻦ ﺗ‪‬ﺮﻭﻯ ﻓﻴﻪ‪ ،‬ﻭﻻ ﺗﺮﺗﺒﻂ ﲟﻨﺎﺳﺒﺎﺕ ﻣﻌﻴﻨﺔ ‪ ،‬ﻛﻤﺎ ﺃﻧ‪‬ﻬﺎ ﻻ ﺗﺘﻄﻠﺐ ﲨﻬﻮﺭ‪‬ﺍ ﻛﺒﲑ‪‬ﺍ‪ ،‬ﻭﻳﻜﻔﻲ‬
‫) ‪(1‬‬
‫ﺃﻥ ﻳﺴﺘﻤﻊ ﳍﺎ ﺷﺨﺺ ﻭﺍﺣﺪ ﰲ ﺃﻱ ﺯﻣﺎﻥ ﻭﻣﻜﺎﻥ "‬
‫ﺇﻥﹼ ﻫﺬﻩ ﺍﻟﺴ‪‬ﻤﺎﺕ ﺍﻟﺒﺴﻴﻄﺔ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺧﻮ‪‬ﻟﺖ ﳍﺎ ﺃﻥ ﺗﻜﻮﻥ ﻓﻦ ﺍﳉﻤﺎﻫﲑ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﺍﻷﻭ‪‬ﻝ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ ‪ ،‬ﺇﺫﺍ ﻣﺎ ﻗﻮﺭﻧﺖ ﺑﺒﻘﻴﺔ ﻓﻨﻮﻥ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﻷﺧﺮﻯ ﻭﻣﺎ ﺳﺎﻋﺪ‬
‫ﻋﻠﻰ ﺍﻧﺘﺸﺎﺭﻫﺎ ﰲ ﺍﳌﻨﻄﻘﺔ ﺃﻳﻀﺎ‪ ،‬ﺭﻭ‪‬ﺍ‪‬ﺎ ﺍﻟﺬﻳﻦ ﻛﺎﻧﻮﺍ ﳚﻮﺑﻮﻥ ﺍﻟﺒﻮﺍﺩﻱ ﻭﺍﳊﻮﺍﺿﺮ‪ ،‬ﺿﻒ ﺇﱃ ﺫﻟﻚ‬
‫ﺷﻴﻮﺥ ﺍﳌﺴﺎﺟﺪ‪ ،‬ﻭﺍﻟﻜﺘﺎﺗﻴﺐ‪ ،‬ﻭﺍﻟﺰﻭﺍﻳﺎ‪ ،‬ﺍﻟﺬﻳﻦ ﺍﻫﺘﻤﻮﺍ ﺑﺮﻭﺍﻳﺔ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺍﻟﻮﻋﻈﻲ ﻟﻠﻜﺒﺎﺭ‬
‫ﻭﺍﻟﺼﻐﺎﺭ‪.‬‬
‫ﻛﻤﺎ ﻛﺎﻥ ﻟﻠﻘﺼﺺ ﺍﻟﺸﻌﺮﻱ ﺍﳌﻠﺤﻤﻲ ﻧﺼﻴﺐ ﺃﻳﻀﺎ‪ ،‬ﺣﻴﺚ ﺍﻫﺘﻢ ﺍﻟﺸﻌﺮﺍﺀ ﺑﺈﻧﺸﺎﺩﻩ ﻭﻫﻢ‬
‫ﳚﻮﺑﻮﻥ ﺃﺳﻮﺍﻕ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﻣﻘﺎﻫﻴﻬﺎ‪ ،‬ﻭﺃﺣﻴﺎﺋﻬﺎ‪...‬ﻭﻛﻠﹼﻬﻢ ﻓﺨﺮ ﻭﺇﻋﺠﺎﺏ ﺑﺘﻤﺠﻴﺪ ﺍﳌﺎﺿﻲ ﻭﺃﺑﻄﺎﻟﻪ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥﹼ ﺭﻭﺍﺓ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺑﺄﻧﻮﺍﻋﻪ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻋﻠﻰ ﺻﻨ‪‬ﻔﲔ‪ ،‬ﺍﻷﻭ‪‬ﻝ‬
‫ﻳﺮﻭﻱ ﺍﻟﻘﺼﺺ ﺑﻐﻴﺔ ﺍﻟﺘﻜﺴﺐ‪ ،‬ﻭﺍﻟﺼﻨﻒ ﺍﻟﺜﺎﱐ ﻳﺮﻭﻳﻪ ﻛﻬﻮﺍﻳﺔ ﻓﻘﻂ ﺩﻭﻥ ﻣﻘﺎﺑﻞ‪.‬‬
‫ﻭﻋﻤﻮﻣ‪‬ﺎ" ﻓﺎﻟﺸﺎﻋﺮ ﺃﻭ ﺍﻟﻘﺎﺹ ﺍﻟﺬﻱ ﻳﻨﺸﺊ ﺍﻷﺛﺮ ﺍﻟﻔﲏ ﳊﺎﺟﺔ ﺫﺍﺗﻴﺔ ﺃﻭ ﻋﺎﻣﺔ ﺩﻭﻥ ﺃﻥ ﻳﺮﺟﻮ‬
‫‪‬ﺎ ﻟﻘﻤﺔ ﺍﻟﻌﻴﺶ‪ ،‬ﺫﻭ ﻣﻜﺎﻧﺔ ﻣﺮﻣﻮﻗﺔ‪ ،‬ﻭﺣﺮﻓﺘﻪ ﺫﺍﺕ ﺍﺣﺘﺮﺍﻡ‪ ،‬ﻭﺃﻣ‪‬ﺎ ﺍﻷﺧﺮ ﺍﻟﺬﻱ ﻳﺘﻜﺴﺐ ﺑﺄﺩﺑﻪ‪،‬‬
‫ﻓﻴﻨﺤﺪﺭ ﺇﱃ ﻣﺼﺎﻑ ﺍﳌﻬﺮ‪‬ﺟﲔ ﻓﻴﺴﻤﻰ "ﺃﹶﺩ‪‬ﺑﺎﺗﻴ‪‬ﺎ" ﻋﻠﻰ ﻏﺮﺍﺭ " ﻗﺮﺩﺍﰐ" ﺃﻭ ﻳﻜﻮﻥ ﻋﻠﻰ ﺃﺣﺴﻦ ﺣﺎﻝ‬
‫) ‪(2‬‬
‫ﻧﺪﳝ‪‬ﺎ ﻳﺮﻭﻕ ﺍﳊﻴﺎﺓ ﻟﻠﻤﺘﺮﻓﲔ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﻓﻔﻨ‪‬ﻪ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ﻟﻌﺒﺔ ﻭﻣﺴﻼﺓ "‬
‫ﺇﻥﹼ ﺍﻟﻔﺮﺩ ﺍﳌﺴﻴﻠﻲ ﻳﻌﻤﺪ ﺇﱃ ﺍﳊﻜﻲ ﺑﺼﻮﺭﺓ ﻣﺴﺘﻤﺮﺓ‪ ،‬ﻭﺧﺎﺻﺔ ﻋﻨﺪﻣﺎ ﲡﺘﻤﻊ ﺍﻟﻌﺎﺋﻠﺔ ﺑﻜﺒﲑﻫﺎ‬
‫ﻭﺻﻐﲑﻫﺎ‪ ،‬ﰲ ﻟﻴﺎﱄ ﺍﻟﺸﺘﺎﺀ ﺍﻟﺒﺎﺭﺩﺓ‪ ،‬ﺣﻮﻝ ﺍﳉﺪﺓ ﺃﻭ ﺍﳉـّﺪ ﺍﻟﺮﺍﻭﻱ‪ ،‬ﺣﻴﺚ ﻳﻠﺘﻒ ﺍﳉﻤﻴﻊ ﺣﻮﻝ‬
‫ﺑﻌﻀﻬﻢ‪ ،‬ﻓﻴﻜﻮﻥ ﺍﻟﺪﻑﺀ ﺩﻓﺂﻥ‪ ،‬ﺩﻑﺀ ﻣﻮﻗﺪ ﺍﳊﻄﺐ ﺍﻟﺬﻱ ﻳﺴﻤﻰ ﰲ ﺍﳌﻨﻄﻘﺔ ﺑـ " ﺍﻟﻜﹶﺎﻧ‪‬ﻮ ﹾﻥ"‬
‫ﻭﺩﻑﺀ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺬﻱ ﺳﻠﺐ ﺗﻔﻜﲑﻫﻢ ﻭﻧﻘﻠﻬﻢ ﻣﻦ ﻋﺎﱂ ﺍﻟﻮﺍﻗﻊ ﺇﱃ ﻋﺎﱂ ﺁﺧﺮ‪ ،‬ﺣﻴﺚ ﺗﺬﻛﺮ ﻟﻨﺎ‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.185‬‬

‫)‪ (2‬ﺃﲪﺪ ﺭﺷﺪﻱ ﺻﺎﱀ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪،‬ﺹ‪.108‬‬
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‫ﺇﺣﺪﻯ ﺍﻟﺮﺍﻭﻳﺎﺕ )‪ (1‬ﺃﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﳍﺎ ﻧﻜﻬﺘﻬﺎ ﺍﳌﻤﻴﺰﺓ ﰲ ﻟﻴﺎﱄ ﺭﻣﻀﺎﻥ ﺍﻟﺒﺎﺭﺩﺓ ﻋﻨﺪﻣﺎ ﲡﺘﻤﻊ‬
‫ﻧﺴﺎﺀ ﺍﻟﻘﺮﻳﺔ ﰲ ﻣﻨﺰﻝ ﻣﺎ‪ ،‬ﻭﺗﺘﻮﺳ‪‬ﻄﻬﻦ ﺍﳉﺪ‪‬ﺓ ﺍﻟﱵ ﳚﻬ‪‬ﺰ ﳍﺎ ﺍﳌﻜﺎﻥ ﺍﳌﻨﺎﺳﺐ‪ ،‬ﻓﻴﻔﺮ‪‬ﺵ ﳍﺎ ﻓﺮﺍﺵ‬
‫ﺍﻟﺼﻮﻑ‪ ،‬ﻭﺗﻌﻠﻮ ﻋﻠﻰ ﺍﳉﻤﻴﻊ ﺣﺘ‪‬ﻰ ﻳﺮﺍﻫﺎ ﺍﻟﻜﹸﻞ‪ ،‬ﻛﻤﺎ ﺗﻮﺿﻊ ﺍﻷﻃﺒﺎﻕ ﺍﻟﺸﻬﻴﺔ ﺍﳌﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻟﺘﻤﺮ‬
‫ﻭﺍﻟﻠﱭ ﻭﺍﻟﺮﻓﻴﺲ ﻭﺍﻟﻔﻮﺍﻛﻪ ﺍﳌﺘﻨ‪‬ﻮﻋﺔ ‪....‬ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﻳ‪‬ﺴ‪‬ﺘﻤﺮ ﺍﳊﻜﻲ ﻃﻴﻠﺔ ﺍﻟﺴﻬﺮﺓ‪ ،‬ﻓﻼﹶ ﳓﺲ ﺑﺄﻧﻔﺴﻨﺎ ﺇﻻﹼ ﻭﺃﺫﺍﻥ ﺍﻟﻔﺠﺮ ﻳﻨﺎﺩﻳﻨﺎ‪.‬‬
‫ﺇﻥﹼ ﺯﻣﻦ ﺣﻜﻲ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻣﺮﺗﺒﻂ ﺑﻄﺒﻴﻌﺔ ﺍﳊﻜﺎﻳﺔ ﰲ ﺣﺪ‪ ‬ﺫﺍ‪‬ﺎ‪ ،‬ﻓﺈﻥ‬
‫ﻛﺎﻧﺖ ﺷﻌﺒﻴﺔ ﺃﻭ ﺧﺮﺍﻓﻴﺔ ﻓﻤﻜﺎ‪‬ﺎ ﺍﻷﺳﺮﺓ ﻭﺯﻣﺎ‪‬ﺎ ﺍﻟﻠﻴﻞ ﻷﻥ ﺍﳋﺮﺍﻓﺔ" ﳍﺎ ﻣﻜﺎﻥ ﺍﻟﺼﺪﺍﺭﺓ ﰲ ﺍﻟﺒﻴﻮﺕ‬
‫ﻭﺍﳌﻨﺎﺯﻝ‪ ،‬ﺣﻴﺚ ﺗﺼﺒﻎ ﺍﻟﻘﺼﺔ ﺑﺼﺒﻐﺔ ﻋﺠﻴﺒﺔ ﻭﺧﻴﺎﻟﻴﺔ ﺑﻌﻴﺪﺓ ﻋﻦ ﺍﳌﻨﻄﻖ‪ ،‬ﻭﻳﻜﺜﺮ ﺭﻭﺍﺟﻬﺎ ﰲ ﺃﻳﺔ‬
‫) ‪(2‬‬
‫ﻣﻨﺎﺳﺒﺔ ﲨﻌﺖ ﺃﻓﺮﺍﺩ ﺍﻟﻌﺎﺋﻠﺔ ﻭﺿﻴﻮﻓﻬﻢ"‬
‫ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﳊﻜﺎﻳﺔ ﺩﻳﻨﻴﺔ ‪ ،‬ﻓﻤﻜﺎ‪‬ﺎ ﺍﳌﺴﺎﺟﺪ ﻭﺍﻟﺰﻭﺍﻳﺎ‪ ،‬ﻭﺍﻷﻧﺪﻳﺔ ﻭﺍﳊﻠﻘﺎﺕ‪ ،‬ﻭﺯﻣﺎ‪‬ﺎ ﺃﻳ‪‬ﺎﻡ‬
‫ﺭﻣﻀﺎﻥ ﺧﺎﺻﺔ‪ ،‬ﻭﺃﻭﻗﺎﺕ ﻣﺎ ﺑﻌﺪ ﺍﻟﺼﻠﻮﺍﺕ ﺍﳌﻔﺮﻭﺿﺔ ﺍﳋﻤﺲ ﰲ ﺍﻷﻳﺎﻡ ﺍﻟﻌﺎﺩﻳﺔ‪ ،‬ﰲ ﺣﲔ ﺃﳕﺎﻁ‬
‫ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﺍﻷﺧﺮﻯ‪ ،‬ﻛﺤﻜﺎﻳﺎﺕ ﺃﻟﻒ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ‪ ،‬ﻭﺣﻜﺎﻳﺎﺕ ﺍﻟﺴﲑ ﻭﺍﳌﻐﺎﺯﻱ‪ ،‬ﻛﺴﲑﺓ ﺳﻴﻒ‬
‫ﺑﻦ ﺫﻱ ﻳﺰﻥ‪ ،‬ﻭﺳﲑﺓ ﺍﻷﻣﲑﺓ ﺫﺍﺕ ﺍﳍﻤ‪‬ﺔ‪ ،‬ﻓﺘ‪‬ﺨﺘﺎﺭ ﳍﺎ ﺃﻭﻗﺎﺕ ﺍﻟﻔﺮﺍﻍ ﺍﻟﻄﻮﻳﻠﺔ‪ ،‬ﻛﻴﻮﻡ ﺍﳉﻤﻌﺔ ﻣﺜﻼ‪،‬‬
‫ﻟﻄﺒﻴﻌﺘﻬﺎ ﺍﻟﻄﻮﻳﻠﺔ ﺍﻟﱵ ﺗﺴﺘﺪﻋﻲ ﺍﻟﻮﻗﺖ ﺍﻟﻜﺎﰲ ﻟﺴﻤﺎﻋﻬﺎ ﻛﺎﻣﻠﺔ ‪.‬‬
‫ﻋﻤﻮﻣ‪‬ﺎ ﻓﺈﻧ‪‬ﻪ ﻭﻣﻦ ﺧﻼﻝ ﻋﻤﻠﻴﺔ ﺍﳉﺮﺩ ﺍﻟﺴﺎﺑﻘﺔ ﻵﺭﺍﺀ ﺃﻫﻞ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻳﺘ‪‬ﻀﺢ ﺃﻥ ﺍﻟﻠﻴﻞ ﻫﻮ ﺍﻟﺰﻣﻦ‬
‫ﺍﻷﻧﺴﺐ ﻟﻠﺤﻜﻲ ﺃﻳ‪‬ﺎ ﻛﺎﻥ ﻧﻮﻋﻪ‪ ،‬ﻷﻥﹼ ﻧﻜﻬﺘﻪ ﺧﺎﺻﺔ‪ ،‬ﻭﻷﻧﻪ ﺍﻟﻮﻗﺖ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﳝﻜﻦ ﺃﻥ ﲡﺪ ﻓﻴﻪ‬
‫ﻛﻞﹼ ﺃﻓﺮﺍﺩ ﺍﻟﻌﺎﺋﻠﺔ ﳎﺘﻤﻌﲔ‪.‬‬

‫ﺛﺎﻟﺜﺎ‪ -‬ﻣﻮﺿﻮﻋﺎت اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ ‪:‬‬

‫ﺇﻥﹼ ﻣﻮﺿﻮﻋﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﻛﺜﲑﺓ ﻭﻣﺘﻨﻮﻋﺔ‪ ،‬ﻭﺫﻟﻚ ﺭﺍﺟﻊ ﻟﺘﻨﻮﻉ ﺃﺣﺪﺍﺛﻬﺎ‬
‫ﺍﳌﺴﺘﻮﺣﺎﺓ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻌﺎﺵ ﺗﺎﺭﺓ‪ ،‬ﻭﺍﻟﻮﺍﻗﻊ ﺍﳌﻤﺰﻭﺝ ﺑﺎﳋﻴﺎﻝ ﺗﺎﺭﺓ ﺃﺧﺮﻯ‪.‬‬
‫ﻓﻤﺤﺘﻮﻯ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ ﺇﺟﺎﺑﺎﺕ ﻷﺳﺌﻠﺔ ﻛﺜﲑﺓ ﺷﻐﻠﺖ ﺑﺎﻝ ﺍﻹﻧﺴﺎﻥ‬
‫ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﻭﻗﺘﺌﺬ‪ ،‬ﻓﺮﺍﺡ ﻳﺘﻮﺳﻞ ﺇﱃ ﺍﻹﺟﺎﺑﺔ ﻋﻨﻬﺎ "ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﺨﻴﻴﻞ ﺍﳌﺴﺘﻨﺪ ﻓﻴﻤﺎ ﻳﺒﻨﻴﻪ ﻣﻦ‬
‫ﺻﻮﺭ ﻗﺼﺼﻴﺔ ﺃﺣﻴﺎﻧﺎ ﻋﻠﻰ ﺍﻟﺘﺼﻮﺭﺍﺕ ﺍﻟﻌﻘﺎﺋﺪﻳﺔ ﻣﺜﻞ ﺍﻻﻋﺘﻘﺎﺩ ﰲ ﺍﻟﻘﺪﺭ ﻭﰲ ﺍﻟﺒﺨﺖ ﻭ ﺍﻹﳝﺎﻥ‬

‫)‪ (1‬ﺍﻟﺮﺍﻭﻱ‪ :‬ﺏ‪،‬ﻋﺎﺋﺸﺔ‪،‬ﻣﻦ ﻣﻮﺍﻟﻴﺪ‪1945‬ﻡ‪ ،‬ﺭﺑﺔ ﺑﻴﺖ‪ ،‬ﺑﻠﺪﻳﺔ ﺑﺮﻫﻮﻡ‪.‬‬

‫)‪ (2‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ ‪،‬ﺹ‪.99‬‬
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‫ﺑﻮﺟﻮﺩ ﺇﺭﺍﺩﺓ ﻋ‪‬ﻠﻴﺎ ﺗﻮﺟ‪‬ﻪ ﺍﻟﻜﻮﻥ ﻭﻓﻖ ﺧﻄﹼﺔ ﻣﺮﺳﻮﻣﺔ ﺑﺼﻔﺔ ﻣﺴﺒﻘﺔ ﻭﺃﺣﻴﺎﻧﺎ ﺃﺧﺮﻯ ﻳﻌﺘﻤﺪ ﰲ‬
‫ﺗﺼﻮﻳﺮﻩ ﺍﻟﻘﺼﺼﻲ ﻋﻠﻰ ﻣﺎ ﻋﺎﺷﻪ ﻣﻦ ﲡﺎﺭﺏ ﻭﻣﺎ ﻣﺮ ﺑﻪ ﻣﻦ ﺧﱪﺍﺕ‪ ،‬ﻭﰲ ﺣﺎﻻﺕ ﺃﺧﺮﻯ ﻳﻠﺠﺄ ﺇﱃ‬
‫ﺍﻟﺴﺨﺮﻳﺔ ﻭﺍﻟﺘﻨﺪ‪‬ﺭ ﻋﻦ ﻃﺮﻳﻖ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻟﺘﺄﻣﻞ ﻭﺍﻻﺳﺘﻌﺎﻧﺔ ﺑﺎﳌﻔﺎﺭﻗﺎﺕ ﻟﺘﺠﺴﻴﺪ ﺍﻟﺼﻮﺭﺓ‬
‫ﺍﻟﻘﺼﺼﻴﺔ " )‪.(1‬‬
‫ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺗﺘ‪‬ﺨﺬ ﻣﺎﺩ‪‬ﺎ ﻣﻦ ﻋﻨﺎﺻﺮ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻌﺎﺵ‪ ،‬ﻭﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﲤﺜﹼﻞ‬
‫ﻣﻮﻗﻔﺎ ﻣﻦ ﻭﺍﻗﻌﻪ ﺍﻟﺬﻱ ﻳﻄﻤﺢ ﺇﱃ ﻣﺮﺍﻗﺒﺘﻪ ﻋﻦ ﻃﺮﻳﻖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺗﻮﺟﻴﻬﻪ ﺍﻟﻮﺟﻬﺔ ﺍﻟﺼﺤﻴﺤﺔ‪.‬‬
‫ﻭﻟﻌﻞﹼ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﺍﻟﺬﻱ ﳝﺜﹼﻞ ﺍﻟﺘﺮﺑﺔ ﺍﳋﺼﺒﺔ‪ ،‬ﺍﻟﱵ ﺃﺗﺎﺣﺖ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻓﺮﺻﺔ ﺍﻟﻨﻤﻮ ﻓﻴﻬﺎ‪،‬‬
‫ﻫﻮ ﰲ ﻃﺒﻴﻌﺘﻪ ﻭﺍﻗﻊ ﻣﻜﻬﺮﺏ ‪ ،‬ﺑﻞ ﻣﺘﺄﺯﻡ ﻷﻧﻪ ﻳﻌﺮﻑ ﺻﺮﺍﻋ‪‬ﺎ ﻛﺒﲑ‪‬ﺍ ﺑﲔ ﻗﻮﻯ ﺍﳋﲑ ﻭﻗﻮﻯ ﺍﻟﺸﺮ‬
‫ﻭﻟﺬﻟﻚ ﳒﺪ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻋﻤﻮﻣ‪‬ﺎ ﻭﺍﳌﺴﻴﻠﻴﺔ ﻋﻠﻰ ﺍﳋﺼﻮﺹ ﺗﺼﻮﺭ ﻟﻨﺎ ﺻﺮﺍﻉ ﺍﻹﻧﺴﺎﻥ‬
‫ﺍﻟﺪﺍﺋﻢ ﻭﺍﳌﺘﻮﺍﺻﻞ ﻣﻊ ﺍﻟﻘﻮﻯ ﺍﻟﺸﺮﻳﺮﺓ ﺑﻐﻴﺔ ﺇﻗﺮﺍﺭ ﺍﻟﻌﺪﻝ ﻭﺍﻟﺴﻼﻡ ﻭﺍﳊﺐ ﻭﺍﻹﺧﺎﺀ‪ ...‬ﻣﻜﺎﻥ ﺍﻟﻈﻠﻢ‬
‫ﻭﺍﳉﻮﺭ ﻭﺍﻟﻜﺮﻩ ﻭﺍﻟﻔﺴﺎﺩ‪....‬ﺍﱁ ﻭﺍﻟﱵ ﺗﺴﻌﻰ ﻗﻮﻯ ﺍﻟﺸﺮ ﺩﺍﺋﻤﺎ ﺇﱃ ﻧﺸﺮﻫﺎ ﻭﺗﺪﻋﻴﻤﻬﺎ ﲟﺨﺘﻠﻒ‬
‫ﺍﻟﻮﺳﺎﺋﻞ‪.‬‬
‫ﻟﻘﺪ ﻋﺎﳉﺖ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻈﻤﺔ ﺍﳌﺴﻴﻠﺔ ﻭﺍﻗﻌﻬﺎ ﺍﳌﺘﺄﺯ‪‬ﻡ ﺑﻮﺍﺳﻄﺔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ‬
‫ﲪﻠﺖ ﺑﲔ ﺃﻟﻔﺎﻇﻬﺎ ﺍﻟﻌﺎﻣﻴﺔ ﺍﻟﺒﺴﻴﻄﺔ‪ ،‬ﳐﺎﺯﻥ ﳍﻤﻮﻣﻪ ﻭﺃﺣﺎﺳﻴﺴﻪ ﺍﳌﺨﺘﻠﻔﺔ ﻭﺍﻟﱵ ﺍﺳﺘﺼﻌﺐ ﻋﻠﻴﻪ‬
‫ﺍﻟﺒ‪‬ﻮ‪‬ﺡ‪ ‬ﺎ ﰲ ﻓﺘﺮﺓ ﻣﻦ ﺍﻟﻔﺘﺮﺍﺕ ﻓﻬﺬﺍ ﻳﺘﻄﺎﺑﻖ ﻭﺍﳌﻨﻄﻠﻘﺎﺕ ﺍﻷﻭﱃ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ -‬ﺍﻟﱵ ﺃﺷﺮﻧﺎ ﺇﻟﻴﻬﺎ‬
‫ﰲ ﺍﻟﻔﺼﻞ ﺍﻟﺘﻤﻬﻴﺪﻱ‪ -‬ﻭﺍﻟﱵ ﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﻣﻨﻄﻠﻘﺎﺕ ﻧﻔﺴﻴﺔ ﳌﻜﻨﻮﻧﺎﺕ ﺩﺍﺧﻠﻴﺔ‪.‬‬
‫ﻓﺮﻏﺒﺔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﰲ ﺍﻟﺘﻐﻴﲑ ﻛﺎﻧﺖ ﻣﻠﺤﺔ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺩﻓﻌﻪ ﺇﱃ ﺗﺒﲏ‬
‫ﺷﺨﺼﻴﺎﺕ ﺧﺎﺭﻗﺔ ﻭﻏﺮﻳﺒﺔ ﻭﺑﺄﲰﺎﺀ ﺃﻏﺮﺏ‪ ،‬ﰲ ﺣﻜﺎﻳﺎﺗﻪ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺟﻌﻞ ﳍﺎ ﻋﺎﳌـًﺎ ﳎﻬﻮﻻ ﳚﺮﻱ‬
‫ﻓﻴﻪ ﺍﻟﺼﺮﺍﻉ ﺑﲔ ﺍﳋﲑ ﻭﺍﻟﺸﺮ‪ ،‬ﻭﺑﲔ ﺍﳊﻖ ﻭﺍﻟﺒﺎﻃﻞ‪ ،‬ﻭﻟﻜﻨﻪ ﺻﺮﺍﻉ ﻻ ﻳﺮﺗﺒﻂ ﺑﻮﺍﻗﻊ ﻣﻌﺮﻭﻑ‪ ،‬ﻭﻻ‬
‫ﺑﻌﺼﺮ ﳏﺪﺩ ﺇﻻ ﻣﻦ ﺣﻴﺚ ﺍﻟﺮﺅﻳﺔ ﻭﻣﺘﻌﻪ ﺍﻟﺴﺮﺩ‪ ،‬ﻭﺫﻟﻚ ﺭﺍﺟﻊ ﻟﻄﺒﻴﻌﺔ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﺗﺘﺠﺎﻭﺯ ﺇﻃﺎﺭ‬
‫ﺍﻟﻘﻮﻣﻴﺔ ﻭﺍﻹﻗﻠﻴﻤﻴﺔ ﻣﻌ‪‬ﺎ ‪.‬‬
‫ﻭﻧﻈﺮ‪‬ﺍ ﻷﻥ ﺍﻟﺼﺮﺍﻉ ﻗﺎﺋﻢ ﺑﲔ ﻋﺎﳌﲔ ﻋﺎﱂ ﺍﳋﲑ ﻭﻋﺎﱂ ﺍﻟﺸﺮ‪ ،‬ﻓﺈﻥﹼ ﺍﻟﻘﺼﺎﺹ ﺍﳌﺴﻴﻠﻲ ﺍﺗ‪‬ﺠﻪ ﺇﱃ‬
‫ﺗﺒﲏ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﻭﺃﺳﻨﺪﻫﺎ ﺇﱃ ﺍﻟﻌﺎﳌﲔ‪ ،‬ﺃﻳﻦ ﺗﺆﺩﻱ ﻛﻞﹼ ﺷﺨﺼﻴﺔ ﻭﻇﻴﻔﺘﻬﺎ ﻓﻴﻪ‪ ،‬ﻭﻗﺪ‬
‫ﻳﺄﰐ ﺍﻟﺪﻭﺭ ﺃﺣﻴﺎﻧﺎ ﺑﺼﻔﺔ ﻣ‪‬ﺠﺮﺩﺓ ﻻ ﻳﻘﺒﻞ ﺍﻟﺘﺸﺨﻴﺺ ‪ ،‬ﻛﺄﻥ ﻳﺮﻣﺰ ﺇﱃ ﻗﻴﻤﺔ ﻣﻌﻨﻮﻳﺔ ﻣﺜﻞ ﺍﻟﻌﺪﺍﻟﺔ‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.186‬‬

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‫ﻭﻋﻜﺴﻬﺎ ﻭﻏﲑ ﺫﻟﻚ‪ ،‬ﻳﻘﻮﻝ ﺃﺣﺪ ﺍﻟﺒﺎﺣﺜﲔ ﺍﳉﺰﺍﺋﺮﻳﲔ ﰲ ﻣﻴﺪﺍﻥ ﺍﻟﻘﺼﺔ ‪" :‬ﺍﻟﺸﺨﺼﻴﺔ ﻫﻲ ﺍﻟﻘﺼﺔ‬
‫ﺍﶈﻘﻘﺔ ﻟﺪﻭﺭ ﰲ ﺍﻟﻘﺼﺔ‪ ،‬ﻭﺍﻟﺸﺨﺼﻴﺔ ﻗﺪ ﲢﻘﹼﻖ ﺃﻛﺜﺮ ﻣﻦ ﺩﻭﺭ ﻛﻤﺎ ﺃﻥﹼ ﺍﻟﺪﻭﺭ ﻗﺪ ﻻ ﻳﺘﺤﻘﻖ ﰲ ﺷﻜﻞ‬
‫ﺷﺨﺼﻴﺔ ﺑﻞ ﻳﻈﻬﺮ ﺿﻤﻨﻴﺎ ﺩﺍﺧﻞ ﺍﻟﻨﺺ" )‪.(1‬‬
‫ﺇﻥﹼ ﻣﻦ ﺍﻟﺸﺨﻮﺹ ﺍﻟﺒﺎﺭﺯﺓ ﺍﻟﱵ ﺍﻫﺘﻢ ﺍﳌﺴﻴﻠﻴﻮﻥ ﺑﺘﻮﻇﻴﻔﻬﺎ ﰲ ﺣﻜﺎﻳﺎ‪‬ﻢ ﺍﻟﺸﻌﺒﻴﺔ ﺷﺨﺼﻴﺔ‬
‫ﺍﻟﻐﻮﻝ ﺃﻭ ﺍﻟﻐﻮﻟﺔ ﻭﺍﻟﱵ ﻫﻲ" ﺟﻨﺲ ﻣﻦ ﺍﻟﺸﻴﺎﻃﲔ ﻭﺍﳉﻦ‪ ،‬ﻛﺎﻧﺖ ﺍﻟﻌﺮﺏ ﺗﺰﻋﻢ ﺃﻥ ﺍﻟﻐﻮﻝ ﰲ ﺍﻟﻔﻼﺓ‬
‫ﺗﺘﺮﺍﺀﻯ ﻟﻠﻨﺎﺱ ﻓﺘﺘﻐﻮ‪‬ﻝ ﺗﻐﻮﻻﹰ ﺃﻱ ﺗﺘﻠﻮﻥ ﺗﻠﻮﻧﺎ ﰲ ﺻﻮﺭ ﺷﺘ‪‬ﻰ ﻭﺗﻐﻮﳍﻢ ﺃﻱ ﺗﻀﻠﻬﻢ ﻋﻦ ﺍﻟﻄﺮﻳﻖ‬
‫ﻭ‪‬ﻠﻜﻬﻢ " )‪.(2‬‬
‫ﻓﺎﻟﻐﻮﻝ ﺇﺫﻥ ﻛﺎﺋﻦ ﻭﳘﻲ‪ ،‬ﻳﻘﺪ‪‬ﻡ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺑﺼﻮﺭ ﺷﱴ ﳝﺜﻞ ﰲ ﺃﻏﻠﺒﻬﺎ‬
‫ﺩﻭﺭ ﺍﻟﻘﻮﻯ ﺍﻟﺸﺮﻳﺮﺓ ﻭﺍﻟﻈﺎﳌﺔ ﻭﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﺨﺮﺑﺔ ﺃﻳﻀﺎ‪ ،‬ﺍﻟﱵ ﺗﺘﻤﻴﺰ ﺑﺎﳋﻠﻘﺔ ﺍﻟﺒﺸﻌﺔ ﻭﺍﻟﱵ ﺗﺪﻓﻊ ﻋﻠﻰ‬
‫ﺍﳋﻮﻑ ﻭﺍﻟﻨﻔﻮﺭ ﻣﻨﻬﺎ‪.‬‬
‫ﻛﻤﺎ ﺗﺄﺧﺬ ﻫﺬﻩ ﺍﻟﻠﻔﻈﺔ ﺩﻻﻻﺕ ﺃﺧﺮﻯ ﰲ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺍﻟﺸﻌﱯ ﺍﻟﻴﻮﻣﻲ ﻷﻓﺮﺍﺩ ﺍﳌﻨﻄﻘﺔ ﻓﻌﻨﺪ‬
‫ﻧﻌﺖ ﺃﺣﺪ ﺍﻷﺷﺨﺎﺹ ﺑﺎﻟﻐﻮﻝ ﻣﺜﻼ‪ ،‬ﻓﺈﻥﹼ ﺫﻟﻚ ﻳﺪﻝﹼ ﻋﻠﻰ ﺍﻟﻘﻮﺓ ﺍﻟﻌﻀﻠﻴﺔ ﺍﳋﺎﺭﻗﺔ ﺍﻟﱵ ﻳﺘﻤﺘﻊ ‪‬ﺎ ﻫﺬﺍ‬
‫ﺍﻟﺸﺨﺺ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻛﻤﺎﻟﻪ ﺍﳉﺴﺪﻱ‪ ،‬ﰲ ﺣﲔ ﲢﻤﻞ ﻟﻔﻈﺔ ﻏﻮﻝ ﺍﻟﺪﻻﻟﺔ ﻧﻔﺴﻬﺎ ﺍﻟﱵ ﲪﻠﺘﻬﺎ ﰲ‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ )ﺃﻱ ﺩﻻﻟﺔ ﺍﻟﻘﻮﻯ ﺍﻟﺸﺮﻳﺮﺓ ﺍﳌﺨﻴﻔﺔ(‪،‬ﰲ ﻣﻮﺍﺿﻊ ﳐﺘﻠﻔﺔ ﻛﺎﳌﻮﺿﻊ ﺍﻟﺬﻱ ﺗﺴﺘﺤﻀﺮ‬
‫ﻓﻴﻪ ﺍﳉﻤﺎﻋﺔ ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ ﻟﺘﺨﻮﻳﻒ ﺻﻐﺎﺭﻫﺎ‪ ،‬ﺃﺛﻨﺎﺀ ﺍﻗﺘﺮﺍﻓﻬﻢ ﺍﻷﺧﻄﺎﺀ ‪ ،‬ﺃﻭ ﺧﺮﻭﺟﻬﻢ ﻋﻦ ﻃﺎﻋﺔ‬
‫ﺍﻟﻮﺍﻟﺪﻳﻦ‪.‬‬
‫ﻭﻣﻦ ﺍﻟﺸﺨﻮﺹ ﺍﳌﺴﺘﻌﻤﻠﺔ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻳﻀﺎ ﺷﺨﺼﻴﺔ ﺍﻟﺪ‪‬ﺑ‪‬ﺎﺭ‪ ‬ﺃﻭ ﺍﳌﹸﺪﺑ‪‬ﺮ ﺍﻟﺬﻱ ﳝﺜﹼﻞ‬
‫ﺭﻣﺰ‪‬ﺍ ﻟﻘﻮﻯ ﺍﳋﲑ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻌﺎﳌﺔ‪ ،‬ﻭﺍﳋﲑﺓ‪ ،‬ﺍﻟﱵ ﺗﻮﺟﻪ ﺑﻘﻴﺔ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺧﺎﺻﺔ ﺍﻟﺒﻄﻞ‬
‫ﺍﻟﻮﺟﻬﺔ ﺍﻟﺼﺤﻴﺤﺔ ﺑﻮﺍﺳﻄﺔ ﺍﻟﻨﺼﺎﺋﺢ ﻭﻭﺳﺎﺋﻞ ﺍﳌﺴﺎﻋﺪﺓ ﺍﳌﺨﺘﻠﻔﺔ ‪.‬‬
‫ﻛﻤﺎ ﳒﺪ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﺴﻴﻠﻴﺔ ﺷﺨﺼﻴﺔ ﺳﺘ‪‬ﻮﺕ ﺍﻟﱵ ﺗﻠﻌﺐ ﺩﻭﺭ ﺍﳌﺮﺃﺓ ﺍﻟﺸﺮﻳﺮﺓ ﺍﻟﱵ ﺗﻮﻗﻊ‬
‫ﺑﲔ ﺍﻟﻨﺎﺱ‪ ،‬ﻭﻫﻲ ﺗﺆﺩ‪‬ﻱ ﺩﻭﺭﻫﺎ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪.‬‬
‫ﰲ ﺣﲔ ﺗﺄﺧﺬ ﺩﻻﻻﺕ ﻣﻐﺎﻳﺮﺓ ﰲ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺍﻟﻴﻮﻣﻲ‪ ،‬ﲝﻴﺚ ﻳﻮﺻﻒ ‪‬ﺎ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﻣﺎ‬
‫ﻻ ﻳ‪‬ﻀﻤﺮﻩ ‪.‬‬

‫)‪ (1‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﰐ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.108‬‬
‫)‪ (2‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﻣﺞ‪،11‬ﺹ‪.508‬‬
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‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺷﺨﺼﻴﺎﺕ ﺃﺧﺮﻯ‪ ،‬ﻛﺜﲑﺓ ﻳﺼﻌﺐ ﺣﺼﺮﻫﺎ ﲨﻴﻌ‪‬ﺎ‪ ،‬ﻭﻫﻲ ﺇﻣ‪‬ﺎ ﺃﻥ ﲢﻤﻞ ﺍﻟﺪﻻﻟﺔ‬
‫ﻧﻔﺴﻬﺎ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﺇﻣ‪‬ﺎ ﺃﻥ ﺗﻜﻮﻥ ﺩﻻﻟﺘﻬﺎ ﳐﺘﻠﻔﺔ‪ ،‬ﻛﺸﺨﺼﻴﺔ ﺍﺑﻦ ﺍﻟﺴﻠﻄﺎﻥ‬
‫ﻣﺜﻼ‪ ،‬ﺍﻟﱵ ﲢﻤﻞ ﺩﻻﻟﺔ ﺍﻟﻮﻗﺎﺭ ﻭﺍﳌﻜﺎﻧﺔ ﺍﻟﻌﺎﻟﻴﺔ ﻭﺍﻷﺧﻼﻕ ﺍﳊﺴﻨﺔ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﰲ ﺣﲔ ﺗﺄﺧﺬ‬
‫ﺩﻻﻟﺔ ﻣﻐﺎﻳﺮﺓ ﰲ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺍﻟﻴﻮﻣﻲ ﺣﻴﺚ ﻳﻨﻌﺖ ‪‬ﺎ ﺍﻟﺸﺨﺺ ﺍﳌﺘﻜﺒ‪‬ﺮ‪.‬‬
‫ﻋ‪‬ﻤﻮﻣ‪‬ﺎ ﻓﺈﻥ ﲢﻠﻴﻠﻨﺎ‪ -‬ﺳﺎﻟﻒ ﺍﻟﺬﻛﺮ ﺃﻋﻼﻩ‪ -‬ﻗﺪ ﺭﺳ‪‬ﺦ ﰲ ﺃﺫﻫﺎﻧﻨﺎ ﻓﻜﺮﺗﲔ ﻫﺎﻣﺘﲔ ﳘﺎ‪:‬‬
‫ﺍﻷﻭﱃ ﻣﺘﻌﻠﻘﺔ ﺑﺈﺣﺴﺎﺱ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺑﻮﺍﻗﻌﺔ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﺴﻴﺎﺳﻲ ﻭﺭﻏﺒﺘﻪ ﰲ ﺇﺻﻼﺣﻪ‬
‫ﺑﺎﳍﺮﻭﺏ ﺇﱃ ﻋﺎﱂ ﺁﺧﺮ ﻫﻮ ﻋﺎﱂ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺬﻱ ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﳛﻘﹼﻖ ﻓﻴﻪ ﺫﺍﺗﻪ ‪.‬‬
‫ﻭﺃﻣﺎ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﻓﻬﻲ ﺃﻥﹼ ﺍﻟﻘﺼﺎﺹ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﻗﺪ ﺍﺧﺘﺎﺭ ﺍﻟﺸﺨﻮﺹ‪ ،‬ﻭﺃﻋﻄﺎﻫﺎ ﺗﻠﻚ ﺍﻟﺘ‪‬ﺴﻤﻴﺎﺕ‬
‫ﺍﳋﻴﺎﻟﻴﺔ‪ ،‬ﺣﱴ ﻻ ﻳﻘﻊ ﰲ ﺻﺮﺍﻉ ﻭﺗﺼﺎﺩﻡ ﻣﻊ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳊﻘﻴﻘﻴﺔ ﰲ ﺍﻟﻮﺍﻗﻊ ﻛﺎﳊﻜﺎﻡ ﻣﺜﻼ‪ ,‬ﺑﻞ‬
‫ﻓﻀ‪‬ﻞ ﺍﻟﺮﻣﻮﺯ‪ ،‬ﻭﺍﻹﳝﺎﺀﺍﺕ ﻛﺒﺪﻳﻞ ﻟﺬﻟﻚ ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﻣﻮﺿﻮﻋﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﻛﺜﲑﺓ ‪،‬ﻭﻫﻲ ﰲ ﳎﻤﻠﻬﺎ ﻣﺴﺘﻮﺣﺎﺓ‬
‫ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻴﻮﻣﻲ ﻟﻺﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻭﻗﺪ ﺣﺎﻭﻟﻨﺎ ﺍﻟﺘﻌﻤﻖ ﰲ ﳏﺘﻮﻯ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﻟﻠﺘﻌﺮ‪‬ﻑ ﻋﻠﻰ ﻣﺪﻯ ﺗﻌﺒﲑﻫﺎ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﺍﳌﺴﻴﻠﻲ ﻭﻣﻄﺎﺑﻘﺘﻬﺎ ﺇﻳ‪‬ﺎﻩ ‪.‬‬
‫ﻟﺬﻟﻚ ﺍﺭﺗﺄﻳﻨﺎ ﺃﻥ ﻧﺘﺠﻪ ﺇﱃ ﺗﺼﻨﻴﻒ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‪ ،‬ﺍﻟﱵ ﲤﺜﻞ ﺟﻮﺍﻧﺐ ﺍﳊﻴﺎﺓ‬
‫ﺍﳌﺨﺘﻠﻔﺔ ﺣﺴﺐ ﳏﺘﻮﺍﻫﺎ ﺇﱃ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﻵﺗﻴﺔ ‪:‬‬
‫ﺣﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺘﺮﻓﻬﻴﺔ ﺍﳍﺰﻟﻴﺔ‪ ،‬ﺍﳊﻜﺎﻳﺎﺕ ﺍﻷﺧﻼﻗﻴﺔ‪ ،‬ﺣﻜﺎﻳﺎﺕ‬
‫ﺍﳊﻴﻮﺍﻥ‪ ،‬ﻣﻊ ﺗﺪﻋﻴﻢ ﻛﻞ ﺻﻨﻒ ﺑﻨﻮﻉ ﻣﻦ ﺍﻟﺸﺮﺡ‪ ،‬ﻭﺍﻟﺘ‪‬ﻤﺜﻴﻞ ﻟﻪ ﺑﻨﻤﻮﺫﺝ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﺘﺪﺍﻭﻟﺔ ﰲ‬
‫ﺍﳌﻨﻄﻘﺔ‪.‬‬

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 ‫‪ -1‬ﺣﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ‪:‬‬
‫ﻫﻲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﱵ ﺍﺭﺗﺒﻄﺖ ﺑﻮﺍﻗﻊ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻹﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﺣﺎﻭﻟﺖ ﺗﺼﺤﻴﺤﻪ‬
‫ﺑﺎﻟﺘﻄﺮﻕ ﺇﱃ ﻣﺸﺎﻛﻠﻪ ﺍﳌﺨﺘﻠﻔﺔ ﻛﺎﻟﻔﻘﺮ ﻭﺍﻟﻐﲎ ﺍﻟﻔﺎﺣﺶ‪ ،‬ﻭﺍﻟﻈﻠﻢ‪ ،‬ﻭﺍﻟﻔﺴﺎﺩ‪ ،‬ﻭﺍﳊﻜﻢ ﺍﳉﺎﺋﺮ‪....‬‬
‫ﻓﻬﻲ ﺇﺫﻥ"ﺣﻜﺎﻳﺎﺕ ﺗﻜﺸﻒ ﻋﻦ ﺍﻟﺼﺮﺍﻉ ﺍﻟﻄﺒﻘﻲ ﻭﻋﻦ ﻋﻼﻗﺔ ﺍﳉﻤﺎﻋﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺑﻌﻀﻬﺎ‬
‫ﺑﺒﻌﺾ")‪.(1‬‬
‫ﺇﻥﹼ ﺭﻏﺒﺔ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺗﻐﻴﲑ ﺍﻟﻮﺿﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﳌﺘﺄﺯﻡ ﺁﻧﺬﺍﻙ ﻛﺎﻧﺖ ﻣﻠﺤﺔ‪ ،‬ﺑﺪﻟﻴﻞ‬
‫ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﻜﺜﲑﺓ ﺍﻟﱵ ﻭﻗﻌﺖ ﻋﻠﻴﻬﺎ ﺃﻧﻈﺎﺭﻧﺎ‪ ،‬ﻭﺍﻟﱵ ﻛﺎﻧﺖ ﰲ ﺃﻏﻠﺒﻬﺎ ﺗﺘﺤﺪﺙ ﻋﻦ ﻫﺬﻩ‬
‫ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪،‬ﺍﻟﱵ ﻳﺄﰐ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﺍﻟﻔﻘﺮ ﻭﺍﻟﻐﲎ‪ ،‬ﻭﻣﺎ ﻳﻨﺘﺞ ﻋﻨﻬﻤﺎ ﻣﻦ ﺻﺮﺍﻋﺎﺕ ‪.‬‬
‫ﻓﺎﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺗﻜﺸﻒ ﻋﻦ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺼﺮﺍﻋﺎﺕ ﺍﻟﻄﺒﻘﻴﺔ‪ ،‬ﺑﻮﻗﻮﻓﻬﺎ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﻄﺒﻘﺔ‬
‫ﺍﻟﻔﻘﲑﺓ ﺇﺫ" ﻛﺜﲑ‪‬ﺍ ﻣﺎ ﲢﻘﻖ ﺍﻟﻄﺒﻘﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺣﻠﻤﻬﺎ ﰲ ﺣﻜﺎﻳﺎ‪‬ﺎ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺬﻱ ﻳﺮﺍﻭﺩﻫﺎ ﰲ ﺃﻥ ﻳﻨﺘﺼﺮ‬
‫) ‪(2‬‬
‫ﺍﻟﻔﻘﲑ ﻋﻠﻰ ﺍﻟﻐﲏ "‬
‫ﻛﻤﺎ ﺟﺴﺪﺕ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‪ ،‬ﺍﻟﺼﺮﺍﻋﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ ﺑﲔ ﺍﻷﺳﺮ ﰲ ﺍﳌﻨﻄﻘﺔ‪،‬‬
‫ﻛﺎﻟﺼﺮﺍﻉ ﺣﻮﻝ ﺍﻷﺭﺽ‪ ،‬ﻭﺍﳌﺎﺀ‪،‬ﻭﺍﻹﺭﺙ‪ ،‬ﺑﻞ ﻭﻋﺎﳉﺖ ﻣﺸﺎﻛﻞ ﺍﻷﺳﺮﺓ ﺍﻟﻮﺍﺣﺪﺓ ﺑﺎﻟﺘ‪‬ﻄﺮﻕ ﺇﱃ‬
‫ﺧﺼﻮﺻﻴﺎ‪‬ﺎ ﻭﻛﺸﻔﻬﺎ ﻟﻠﻌﻴﺎﻥ ﺑﻐﻴﺔ ﺇﺻﻼﺣﻬﺎ‪ ،‬ﻣﻦ ﻗﺴﻮﺓ ﺯﻭﺟﻪ ﺍﻷﺏ ﻋﻠﻰ ﺍﻷﺑﻨﺎﺀ‪ ،‬ﻭﻇﻠﻢ ﺍﻷﺏ‬
‫ﻟﻠﺰﻭﺟﺔ ﺍﻷﻭﱃ ﻭﺗﻔﻀﻴﻠﻪ ﺍﻟﺜﺎﻧﻴﺔ‪.‬‬
‫ﻭﻋﺎﳉﺖ ﺍﳊﻜﺎﻳﺎﺕ ﺃﻳﻀﺎ ﻇﺎﻫﺮﺓ ﺗﻔﻀﻴﻞ ﺍﻟﻌﺎﺋﻼﺕ ﺍﻟﺬﻛﻮﺭ ﻋﻠﻰ ﺍﻹﻧﺎﺙ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻭﻏﲑﻫﺎ‬
‫ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﳌﺨﺘﻠﻘﺔ‪.‬‬
‫ﻭﻣﺎ ﺣﻜﺎﻳﺔ ﺑﻘﺮﺓ ﻟﻴﺘﺎﻣﻰ)*( ﺍﳌﺸﻬﻮﺭﺓ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺇﻻ ﳕﻮﺫﺟﺎ ﳌﺜﻞ ﻫﺬﻩ ﺍﻟﺼﺮﺍﻋﺎﺕ‬
‫ﺍﻷﺳﺮﻳﺔ‪ ،‬ﺣﻴﺚ ﺗﺘﻄﺮﻕ ﺇﱃ ﺫﻟﻚ ﺍﻟﺼﺪﺍﻡ ﺑﲔ ﻗﻮﻯ ﺍﻟﺸﺮ‪ ،‬ﺍﳌﺘﻤﺜﻠﺔ ﰲ ﺯﻭﺟﺔ ﺍﻷﺏ ﻭﺍﺑﻨﺘﻬﺎ ﺍﻟﻌﻮﺭﺍﺀ‬
‫ﻭﻗﻮﻯ ﺍﳋﲑ ﺍﻟﱵ ﳝﺜﻠﻬﺎ ﺍﻻﺑﻨﺎﻥ ﺍﻟﻴﺘﻴﻤﺎﻥ ﺍﻟﻠﺬﺍﻥ ﻳﺘﻌﺮﺿﺎﻥ ﻟﻠﺘﻌﺬﻳﺐ ﻭﺍﻻﺿﻄﻬﺎﺩ ﻭﺍﻟﻨﻔﻲ ﻣﻦ ﻗﺒﻞ‬
‫ﺯﻭﺟﺔ ﺍﻷﺏ‪.‬‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪،‬ﺹ‪.184‬‬

‫)‪ (2‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.184‬‬
‫)*( ﻳ‪‬ﻨﻈﺮ ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪،‬ﺹ ‪.183‬‬
‫‪- 101 -‬‬
‫ﻟﻜﻦ ﻳﺪ ﺍﻷﻗﺪﺍﺭ ﺗﻘﻒ ﺇﱃ ﺟﺎﻧﺒﻬﻤﺎ‪ ،‬ﻭﺗﻘﺪﻡ ﳍﻤﺎ ﻭﺳﺎﺋﻞ ﺍﳌﺴﺎﻋﺪﺓ‪ ،‬ﻭﺍﻟﱵ ﻳﻀﻤﻨﺎ ﻣﻦ ﺧﻼﳍﺎ ﺍﻟﻨﺠﺎﺓ‬
‫ﰲ ﺍﻟﻨﻬﺎﻳﺔ‪.‬‬
‫)**(‬
‫ﳕﻮﺫﺟﺎ ﻗﻴ‪‬ﻤﺎ‬ ‫ﻛﻤﺎ ﻣﺜﹼﻠﺖ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ)*(‪ ،‬ﻭﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ‬
‫ﳊﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﳌﺴﻴﻠﻲ‪ ،‬ﳌﺎ ﺗﻀﻤ‪‬ﻨﺘﻪ ﻣﻦ ﺗﺼﻮﻳﺮ ﻭﲡﺴﻴﺪ ﻟﻘﻀﺎﻳﺎ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻫﻲ ﰲ‬
‫ﺍﳊﻘﻴﻘﺔ ﺍﻧﻌﻜﺎﺱ ﻟﻮﺍﻗﻊ ﳛﻴﺎﻩ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ,‬ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﺍﻟﺬﻱ ﻳﺘﺼﺎﺭﻉ ﻓﻴﻪ ﺍﳋﲑ‬
‫ﻭﺍﻟﺸﺮ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ ،‬ﻟﻴﻨﺘﻬﻲ ﺑﺎﻧﺘﺼﺎﺭ ﺍﳋﲑ ﰲ ﺍﻷﺧﲑ‪.‬‬
‫‪ -2‬ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺘﺮﻓﻴﻬﻴﺔ ﺍﳍﺰﻟﻴﺔ ‪:‬‬
‫ﻳﻘﺼﺪ ﺑﺎﳊﻜﺎﻳﺎﺕ ﺍﻟﺘﺮﻓﻬﻴﺔ ﺍﳍﺰﻟﻴﺔ‪ ،‬ﺗﻠﻚ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﱵ ﻳﺮﻭﻳﻬﺎ ﺃﺻﺤﺎ‪‬ﺎ ﻗﺼـﺪ ﺇﺿـﺤﺎﻙ‬
‫ﺍﳌﺴﺘﻤﻌﲔ ﻭﺍﻟﺘﺮﻓﻴﻪ ﻋﻨﻬﻢ‪ ،‬ﻣﻊ ﺍﻟﻌﻠﻢ ﺃﻥ ﻛﻞ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻫﺪﻓﻬﺎ ﺍﻟﺘ‪‬ﺴﻠﻴﺔ ﻭﺍﻟﺘ‪‬ﺮﻓﻴﻪ" ﺇﺫ ﺗﻌـﺪ‪‬‬
‫) ‪(1‬‬
‫ﺍﻟﺘ‪‬ﺴﻠﻴﺔ ﺃﻫﻢ ﺃﻫﺪﺍﻑ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻷﻧ‪‬ﻬﺎ ﺑﻘﻴﺖ ﻃﻮﻳﻼ ﺍﻟﻮﺳﻴﻠﺔ ﺍﻟﻮﺣﻴﺪﺓ ﻟﺘﺴﻠﻴﺔ ﺍﳉﻤﺎﻫﲑ"‬
‫ﻓﻘﺪ ﺗ‪‬ﻮﻇﱠﻒ‪ ‬ﺣﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﺃﻭ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻷﺧﻼﻗﻴﺔ‪ ،‬ﺃﻭ ﺣﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ‬
‫ﳌﻌﺎﳉﺔ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻌﺎﺵ ﺑﻄﺮﻳﻘﺔ ﻫﺰﻟﻴﺔ ﳑﺘﻌﺔ‪ ،‬ﻓﺘﻜﻮﻥ ﺑﺬﻟﻚ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻮﺍﺣﺪﺓ ﻗﺪ ﲨﻌﺖ ﺑﲔ‬
‫ﻭﻇﻴﻔﺘﲔ ﳘﺎ ﺍﻹﺻﻼﺡ ﻭﺍﻟﺘﺮﻓﻴﻪ ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ‪ ،‬ﺇﱃ ﺃﻥﹼ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺗﻌﻮﺩ ﺇﱃ ﻣﺜﻞ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ‬
‫ﺍﳊﻜﺎﻳﺎﺕ‪ ،‬ﻋﻨﺪﻣﺎ ﲢﺲ ﺑﺘﻌﺐ ﺍﳊﻴﺎﺓ‪ ،‬ﻓﺘﺸﺘﺪ‪ ‬ﳘﻮﻣﻬﺎ‪ ،‬ﻭﺗﺘﺰﺍﻳﺪ ﺧﻄﻮ‪‬ﺎ‪ ،‬ﻭﻻ ﲡﺪ ﺇﻻ ﰲ ﺍﳊﻜﺎﻳﺎﺕ‬
‫ﺍﳍﺰﻟﻴﺔ ﻭﺳﻴﻠﺔ ﻟﻠﻀﺤﻚ ﻭﺍﻟﺴﺨﺮﻳﺔ ﻣﻦ ﺍﳌﺸﺎﻛﻞ ﺍﻟﱵ ﺗ‪‬ﻌﺎﱐ ﻣﻨﻬﺎ‪ ".‬ﻓﺎﳊﻜﺎﻳﺎﺕ ﺍﳍﺰﻟﻴﺔ ﳝﻜﻦ ﺃﻥ‬
‫ﺗﻨﺪﺭﺝ ﲢﺖ ﺻﻨﻒ ﺣﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﻻ ﻳﺸﺘﻜﻲ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﻓﻴﻬﺎ ﻣﻦ ﻋﻠﺔ ﺍﻟﻔﻘﺮ‬
‫) ‪(2‬‬
‫ﺑﻘﺪﺭ ﻣﺎ ﻳﺴﺨﺮ ﻣﻦ ﻣﻮﻗﻔﻪ ﻭﻣﻮﻗﻒ ﳎﺘﻤﻌﻪ ﻣﻨﻬﺎ "‬
‫ﻭﻗﺪ ﺗ‪‬ﺆ‪‬ﺩ‪‬ﻯ ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳍﺰﻟﻴﺔ ﻋﻠﻰ ﺃﻟﺴﻨﺔ ﺍﳊﻴﻮﺍﻥ‪ ،‬ﺃﻭ ﺍﻵﺩﻣﻴﲔ ﺃﻭ ﲡﻤﻊ ﺑﲔ ﺍﻟﺼﻨﻔﲔ‬
‫ﺃﻭ ﻗﺪ ﺗﺘﺒﻠﻮﺭ ﺍﻟﻘﺼﺔ ﺑﺄﻛﻤﻠﻬﺎ ﺣﻮﻝ ﺷﺨﺼﻴﺔ ﺭﺋﻴﺴﻴﺔ ﻫﻲ ﺷﺨﺼﻴﺔ"ﺟﺤﺎ" ﻭﻣﻐﺎﻣﺮﺍﺗﻪ ﺍﻟﺸﻴﻘﺔ‪.‬‬

‫)*( ﻳ‪‬ﻨﻈﺮ ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪،‬ص ‪.162‬‬

‫)**( ﻳ‪‬ﻨﻈﺮ ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪.‬ﺹ ‪.169‬‬
‫)‪ (1‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﺏ ‪،‬ﺹ‪.205‬‬
‫)‪ (2‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪،‬ﺹ‪.205‬‬
‫‪- 102 -‬‬
‫ﻭﻋﻤﻮﻣﺎ ﻓﻮﻇﺎﺋﻒ ﺍﳊﻜﺎﻳﺔ ﺍﳍﺰﻟﻴﺔ ﺍﻟﺘﺮﻓﻬﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ‪ ،‬ﲨ‪‬ﺔ ﻳﺄﰐ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﺍﻟﺘﺨﻔﻴﻒ‬
‫ﻣﻦ ﻭﻗﻊ ﺍﳊﻴﺎﺓ ﻋﻠﻰ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﻗﺪ ﺗﻈﻬﺮ ﺃﻫﺪﺍﻑ ﺃﺧﺮﻯ ﻟﻠﺤﻜﺎﻳﺔ ﺍﳍﺰﻟﻴﺔ‪،‬ﺗﺘﻌﺪﻯ ﺍﻟﻮﻇﻴﻔﺔ‬
‫ﺍﳌﺬﻛﻮﺭﺓ‪ ،‬ﻛﺎﳍﺪﻑ ﺍﻟﺘﻌﻠﻴﻤﻲ ﺍﻟﺬﻱ ﳝﺲ ﺍﳊﻴﺎﺓ ﻣﻦ ﲨﻴﻊ ﺟﻮﺍﻧﺒﻬﺎ ‪.‬‬
‫ﻭﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﻛﺜﲑ ﰲ ﺍﳌﻨﻄﻘﺔ ﻧﺬﻛﺮ ﻣﻨﻪ ﺣﻜﺎﻳﺔ ﺟﺤﺎ ﻭﺻﺎﺣﺒﻮ)*( ﺍﻟﱵ ﺗﺪﻭﺭ‬
‫ﺃﺣﺪﺍﺛﻬﺎ ﺣﻮﻝ ﺷﺨﺼﻴﺔ ﺭﺋﻴﺴﻴﺔ ﻫﻲ ﺟﺤﺎ ﲡﻤﻊ ﺑﲔ ﺍﳊﻴﻠﺔ ﻭﺍﻟﻄﺮﺍﻓﺔ‪ ،‬ﺗ‪‬ﻘﺪﻡ ﰲ ﻗﺎﻟﺐ ﻫﺰﱄ ﺑﺴﻴﻂ‬
‫ﻭﺑﻠﻐﺔ ﻋﺎﻣﻴﺔ ﻫﻲ ﺍﻷﺧﺮﻯ ﺑﺴﻴﻄﺔ‪ ،‬ﻟﻜﻦ ﺍﳊﻜﺎﻳﺔ ﻋﻤﻮﻣﺎ ﻗﻮﻳﺔ ﺑﺄﺑﻌﺎﺩﻫﺎ‪ ،‬ﻭ ﻭﻇﺎﺋﻔﻬﺎ ﺍﳌﺘﻌﺪﺩﺓ‪.‬‬
‫‪ -3‬ﺍﳊﻜﺎﻳﺎﺕ ﺍﻷﺧﻼﻗﻴﺔ ‪:‬‬
‫ﻫﻲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﱵ ﺗﺘﻨﺎﻭﻝ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﻟﻘﻴﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﳌﺜﻠﻰ‪ ،‬ﻭﺗﺴﻌﻰ ﺇﱃ ﺗﺄﻛﻴﺪﻫﺎ ﻭﺗﱪﺯ‬
‫ﺍﻟﻌﻴﻮﺏ ﺍﳌﺘﻔﺸﻴﺔ ﰲ ﺍ‪‬ﺘﻤﻌﺎﺕ ﻭﺗﺴﻌﻰ ﺇﱃ ﺇﻟﻐﺎﺋﻬﺎ ﻭﺇﺻﻼﺣﻬﺎ‪ "،‬ﻓﺤﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻷﺧﻼﻗـﻲ ﻻ‬
‫‪‬ﺘﻢ ﺑﺈﺑﺮﺍﺯ ﺍﻟﻌﻴﻮﺏ ﺍﻷﺧﻼﻗﻴﺔ ﺍﻟﱵ ﺑﺪﺃﺕ ﺗﻈﻬﺮ ﰲ ﺑﻨﺎﺀ ﺍ‪‬ﺘﻤﻊ ﺍﳉﺪﻳﺪ ﻓﺤﺴﺐ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﺗﺸﲑ ﻣﻦ‬
‫ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﺇﱃ ﺑﻌﺾ ﺍﻟﻘﻴﻢ ﺍﻹﳚﺎﺑﻴﺔ ﺍﻟﱵ ﻳﺮﺍﻫﺎ ﺍﻟﺸﻌﺐ ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮﻩ ﻣﺆﺩﻳﺔ ﺇﱃ ﺍﳊﻴﺎﺓ ﺍﳍﺎﺩﺋﺔ‬
‫) ‪(1‬‬
‫ﺍﻟﱵ ﳝﻜﻦ ﺃﻥ ﻳﻌﻴﺸﻬﺎ ﺍﻟﻔﺮﺩ ﰲ ﺗﻔﺎﺅﻝ ﺗﺎﻡ " ‪.‬‬
‫ﻟﻘﺪ ﻣﺜﻠﺖ ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﻣﻮﺿﻮﻋ‪‬ﺎ ﻫﺎﻣ‪‬ﺎ ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﻷﺧﻼﻗﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‪ ،‬ﺣﻴﺚ ﺣﺮﺻﺖ‬
‫ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﻋﻠﻰ ﺍﶈﺎﻓﻈﺔ ﻋﻠﻴﻬﺎ ﻭﲪﺎﻳﺘﻬﺎ ﻣﻦ ﻛﻞﹼ ‪‬ﺪﻳﺪ ﳝ‪‬ﺲ ﺃﺧﻼﻗﻴﺎ‪‬ﺎ ﻭﻗﻴﻤﻬـﺎ‬
‫) ‪(2‬‬
‫"ﺗﻠﻚ ﺍﻟﻘﻴﻢ ﺍﻟﱵ ﳜﺸﻰ ﺍﻟﺸﻌﺐ ﻛﻞ ﺍﳋﺸﻴﺔ ﺃﻥ ﺗﻨﻬﺎﺭ ﺑﺘﺄﺛﲑ ﺍﻟﺰﺣﻒ ﺍﳌﺪﱐ ﺇﱃ ﺍ‪‬ﺘﻤﻊ ﺍﻟﺸﻌﱯ "‬
‫ﻓﻠﻬﺬﺍ ﺍﻟﺴﺒﺐ ﻭﻷﺳﺒﺎﺏ ﺃﺧﺮﻯ‪ ،‬ﺍﺣﺘﻞ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸـﻌﺒﻴﺔ ﺍﻟﺼـﺪﺍﺭﺓ ﰲ‬
‫ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﻓﻘﺪ ﺍﺳﺘﻌﻤﻞ ﻛﺜﲑ‪‬ﺍ ﰲ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﻭﻻﺯﺍﻝ ﻣﺴﺘﻌﻤﻼ ﺇﱃ ﺍﻵﻥ ﺑﻘﺼﺪ ﺗﻌﻠﻴﻤﻲ ﺃﺧﻼﻗﻲ ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥﹼ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ ﺍﺗﻔﻘﻮﺍ ﺣـﻮﻝ ﻣﻔﻬـﻮﻡ ﻣﻮﺣ‪‬ـﺪ ﻟﻠﺤﻜﺎﻳـﺎﺕ‬
‫ﺍﻷﺧﻼﻗﻴﺔ‪.‬‬
‫ﻓﻬﻲ ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮﻫﻢ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﱵ ﺗﺘﻨﺎﻭﻝ ﻣﻮﺿﻮﻋﺎ ﺃﺧﻼﻗﻴﺎ ﻣﺮﺗﺒﻄﺎ ﺑﺎﳉﻤﺎﻋﺔ ﺍﻟﺸـﻌﺒﻴﺔ‬
‫ﻭﻟﻪ ﺍﻧﻌﻜﺎﺳﺎﺕ ﲨﺔ ﻋﻠﻰ ﺍ‪‬ﺘﻤﻊ ﺍﻟﺬﻱ ﺗﻌﻴﺶ ﻓﻴﻪ‪ ،‬ﻟﻜﻨﻬﻢ ﺍﺧﺘﻠﻔﻮﺍ ﰲ ﺍﺻﻄﻼﺣﻬﺎ ﺃﻭ ﺗﺴﻤﻴﺘﻬﺎ ﻓﻔﻲ‬

‫)*( ﻳ‪‬ﻨﻈﺮ‪ ،‬ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪،‬ص ‪.176‬‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.175‬‬
‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.173‬‬
‫‪- 103 -‬‬
‫) ‪(2‬‬
‫ﺣﲔ ﺗﺘ‪‬ﺠﻪ ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ)‪ (1‬ﺇﱃ ﺗﺴﻤﻴﺘﻬﺎ ﲝﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻷﺧﻼﻗﻲ ‪،‬ﺗﻔﻀ‪‬ﻞ ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‬
‫ﺍﺻﻄﻼﺡ ﺍﻟﻘﺼﺔ ﺫﺍﺕ ﺍﳌﻐﺰﻯ ﻭﻫﻲ ﻋﻨﺪﻫﺎ" ﲤﺘﺎﺯ ﻋﻦ ﻏﲑﻫﺎ ﺑﺒﻌﺾ ﺍﳌﻼﻣﺢ ﺍﳋﺎﺻﺔ ﺑﻘﺼﺔ ﺍﻟﺘﺴﻠﻴﺔ‬
‫ﻛﻌﻨﺎﻳﺘﻬﺎ ﺍﻟﻜﺒﲑﺓ ﺑﺎﳊﺪﺙ ﻭﺷﺨﺼﻴﺎ‪‬ﺎ ﺍﳋﲑﺓ ﲤﺎﻣ‪‬ﺎ ﺃﻭ ﺍﻟﺸﺮﻳﺮﺓ ﲤﺎﻣ‪‬ﺎ ﻭﺗﻘﺪﳝﻬﺎ ﺳﻠﺴﻠﺔ ﺗﺘ‪‬ﺴﻢ ﺑﺎﻧﺘﺼﺎﺭ‬
‫ﺍﳋﲑ ﻭﺍﻧﺪﺣﺎﺭ ﺍﻟﺸﺮ ﺣﻴﺚ ﻳﺘﺠﻠﻰ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﳌﻐﺰﻯ ﺍﳋﻠﻘﻲ ﺍﻟﺘﻌﻠﻴﻤﻲ ﻛﺎﻟﺼﺪﻕ ﻭﺍﻟﻮﻓـﺎﺀ‪ ،‬ﺃﻭ‬
‫) ‪(3‬‬
‫ﺍﳋﲑ ﺍﻟﺬﻱ ﻳﻜﺎﻓﺄ ﺑﻪ ﺩﺍﺋﻤﺎ ﻣﻦ ﻗﺎﻡ ﺑﺄﻓﻌﺎﻝ ﺧﻴ‪‬ﺮﺓ ﻭﻏﲑ ﺫﻟﻚ "‪.‬‬
‫ﻟﻘﺪ ﺗﻨﻮ‪‬ﻋﺖ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﱵ ﻧﻔﹼﺬﺕ ﺍﳊﺪﺙ ﰲ ﺍﳊﻜﺎﻳـﺎﺕ ﺍﻷﺧﻼﻗﻴـﺔ ﺍﳌﺴـﻴﻠﻴﺔ ﺑـﲔ‬
‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻵﺩﻣﻴﺔ ﻓﻘﻂ ‪ ،‬ﺃﻭ ﺍﳊﻴﻮﺍﻧﻴﺔ ﻓﻘﻂ‪ ،‬ﻭﰲ ﻛﺜﲑ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﻣﺰﺟﺖ ﺑﲔ ﺍﻟﺼـﻨﻔﲔ ﰲ‬
‫ﻣﺴﺮﺡ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻓﻘﻂ ﻟﺘﺆﻛﹼﺪ ﻋﻠﻰ ﻗﻴﻤﺔ ﺃﺧﻼﻗﻴﺔ ﺣﺴﻨﺔ ﺃﻭ ﺗﻨﻬﻲ ﻋﻦ ﺃﺧﺮﻯ ﺳﻴﺌﺔ " ﺃﻣ‪‬ـﺎ‬
‫ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺜﺮﻭﺓ ﻭﺍﻟﺴﻌﺎﺩﺓ ﰲ ﺗﻠﻚ ﺍﻟﻘﺼﺺ ﻓﻬﻮ ﺩﺍﺋﻤﺎ ﻋﻦ ﻃﺮﻳﻖ ﺍﳋﲑ ﻭﺣﺴـﻦ ﺍﳋـﻼﻕ‬
‫ﻭﻳ‪‬ﻔﻀ‪‬ﻞ ﺍﻟﺒﻄﻞ ﺍﻧﺘﺼﺎﺭ ﺍﳋﲑ ﻭﺣﺴﻦ ﺍﻷﺧﻼﻕ ﻋﻠﻰ ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺴﻌﺎﺩﺓ ﻭﺍﻟﺜﺮﻭﺓ ﺍﳌﺎﺩﻳﺔ ﺇﺫﺍ ﻭﻗﻊ‬
‫ﺗ‪‬ﻌﺎﺭﺽ ﺑﲔ ﺍﻟﺴ‪‬ﻌﺎﺩﺓ ﻭﺍﻟﺜﺮﻭﺓ ﻣﻊ ﺍﻷﺧﻼﻕ ﺍﻟﻄﹼﻴﺒﺔ ﻭﺍﳌﺜﻞ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﻭﻣﻦ ﻫﺬﻩ ﺍﻟﻨﺎﺣﻴﺔ ﻳﺒﺪﻭ ﺃﻥ ﻫـﺬﻩ‬
‫) ‪(4‬‬
‫ﺍﻟﻘﺼﺺ ﺃﺧﻼﻗﻴﺔ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ "‪.‬‬
‫ﻓﺎﳊﻜﺎﻳﺎﺕ ﺍﻷﺧﻼﻗﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ‪‬ﺘ‪‬ﻢ ﺃﺳﺎﺳ‪‬ﺎ ﺑﺘﻤﺠﻴﺪ ﺍﻷﺧﻼﻕ‪ ،‬ﻣﻦ ﺧﻼﻝ ﻃﺮﺣﻬـﺎ ﻟﻘﻀـﻴﺔ‬
‫ﺃﺧﻼﻗﻴﺔ‪ ،‬ﺗﻨﺘﻬﻲ ﲟﻐﺰﻯ ﺃﺧﻼﻗﻲ ﻗﺪ ﻳﻜﻮﻥ ﻣﺜﻼ ﺷﻌﺒﻴﺎ‪ ،‬ﻳﻠﺨﺺ ﻣﻀﻤﻮ‪‬ﺎ ﰲ ﻛﻠﻤـﺘﲔ ﺃﻭ ﲢـﻮﻱ‬
‫ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻷﻣﺜﺎﻝ ﺃﻭ ﺍﻷﻟﻐﺎﺯ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﺗ‪‬ﻀﺮﺏ ﺑﲔ ﺍﳊﻴﻨﺔ ﻭﺍﻷﺧﺮﻯ ﺃﺛﻨﺎﺀ ﺳﺮﺩ ﺍﳊﻜﺎﻳﺔ ﻟﺘﺆﻛﺪ‬
‫ﻋﻠﻰ ﺍﻟﺼﻔﺎﺕ ﺍﳊﻤﻴﺪﺓ ﺍﻟﱵ ﺗﺪﻋﻮﺍ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻓﺮﺍﺩﻫﺎ ﺇﱃ ﺍﻟﺘﻤﺴﻚ ‪‬ﺎ‪ .‬ﻭﻫـﻲ ﰲ ﳎﻤﻠـﻬﺎ‬
‫ﻣﺘ‪‬ﻌﻠﹼﻘﺔ ﺑﻔﻌﻞ ﺍﳋﲑ ﻭﺍﻟﺘﺤﻠﹼﻲ ﺑﺎﻟﺸﺠﺎﻋﺔ ﻭﺍﻟﻜﺮﻡ ﻭﺍﻟﺼﱪ ﻭﺍﻟﻘﻨﺎﻋﺔ‪ ،‬ﻭﺍﻟﺼﺪﻕ ﻭﺍﻟﻮﻓﺎﺀ ‪....‬ﺍﱁ‪.‬‬
‫ﻛﻤﺎ ﺃﻥﹼ ﻗﹸﺪﺭﺓ ﺍﻟﺒﻄﻞ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﺣ‪‬ﻞﹼ ﺍﻷﻟﻐﺎﺯ ﺍﳌﺴﺘ‪‬ﻌﺼﻴﺔ‪ ،‬ﻭﻓﻚ‪ ‬ﺭ‪‬ﻣﻮﺯﻫﺎ ﺩﻟﻴﻞ‬
‫ﺍﻟﻔﻄﻨﺔ ﻭﺍﻟﺬﻛﺎﺀ ﻭﺍﳊﻜﻤﺔ ﺍﻟﻨﺎﺩﺭﺓ ﻓﻴﻪ‪ ،‬ﻭﻫﻮ ﻣﺎ ﺗﺘﻤﲎ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻥ ﺗﺮﺍﻩ ﰲ ﺃﻓﺮﺍﺩﻫﺎ ‪ ،‬ﻭﺗﺴﻌﻰ‬
‫ﺩﻭﻣ‪‬ﺎ ﺇﱃ ﲢﻘﻴﻘﻪ‪" ،‬ﻭﻫﻜﺬﺍ ﻧﺮﻯ ﻛﻴﻒ ﺗﻘﻮﻡ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺑﻮﻇﻴﻔﺔ ﺃﺳﺎﺳﻴﺔ ﰲ ﺍﻟﻜﺸﻒ ﻋـﻦ‬
‫ﺍﻟﻘﻴﻢ ﺍﻷﺧﻼﻗﻴﺔ ﺍﻟﻔﺎﺳﺪﺓ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﻟﺸﻌﱯ ﻣﻦ ﻧﺎﺣﻴﺔ ﻭﰲ ﺗﺄﻛﻴﺪ ﺍﻟﻘﻴﻢ ﺍﻹﳚﺎﺑﻴﺔ ﺍﳌﺮﻏﻮﺏ ﻓﻴﻬﺎ ﻣﻦ‬
‫) ‪(5‬‬
‫ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ "‪.‬‬

‫)‪ (1‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪:‬ﺹ‪.172‬‬

‫)‪(2‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰉ ‪،‬ﺹ‪.209‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪:،‬ﺹ‪.209‬‬
‫)‪ (4‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻲ ﻗﺮﻳﺶ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.209‬‬
‫)‪ (5‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪،‬ﺹ‪.184‬‬
‫‪- 104 -‬‬
‫ﻭﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻷﺧﻼﻗﻴﺔ ﺍﻟﺸﺎﺋﻌﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺣﻜﺎﻳﺔ ﺟ‪‬ﺎﺯﹺﻳﻪ‪ ‬ﻭﺍﳋ‪‬ﺮ‪‬ﻓﹶﺎﻥﹾ)*( ﺍﻟﱵ ﻫﻲ ﰲ‬
‫ﺍﳊﻘﻴﻘﺔ ‪ ،‬ﺑﻘﺎﻳﺎ ﻷﺷﻼﺀ ﺍﻟﺴﲑﺓ ﺍﳍﻼﻟﻴﺔ ﺍﳌﺘﺮﺍﻣﻴﺔ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‪ ،‬ﺑـﺪﻟﻴﻞ‬
‫ﺃﲰﺎﺀ ﺷﺨﺼﻴﺎ‪‬ﺎ)ﺫﻳﺎﺏ ﳍﻼﻳﻠﻲ ﻭﺍﳉﺎﺯﻳﺔ(‪.‬‬
‫ﻓﺎﳊﻜﺎﻳﺔ ﺇﺫﺍ ﺗﻄﺮﺡ ﺃﻟﻐﺎﺯ‪‬ﺍ‪ ،‬ﻭﺗﻀﺮﺏ ﺃﻣﺜﺎﻻ ﺷﻌﺒﻴﺔ‪ ،‬ﻗﻴ‪‬ﻤﺔ ﻏﺎﻳﺘﻬﺎ ﺍﻟﻜﺸﻒ ﻋﻦ ﻗﻴﻢ ﺩﻓﻴﻨﺔ‪ ،‬ﰒ‬
‫ﺍﻟﺴﻌﻲ ﺇﱃ ﺗﺄﻛﻴﺪﻫﺎ‪ ،‬ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ ﻭﺇﺑﺮﺍﺯ ﺍﻟﻌﻴﻮﺏ ﻭﳏﺎﻭﻟﺔ ﺗﺼﺤﻴﺤﻬﺎ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪.‬‬
‫‪ -4‬ﺣﻜﺎﻳـﺎﺕ ﺍﳊﻴﻮﺍﻥ ‪:‬‬
‫ﻟﻘﺪ ﻋﺮﻓﺖ ﺣﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ ﺍﻧﺘﺸﺎﺭﺍ ﻛﺒﲑ‪‬ﺍ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﺫﻟﻚ ﺭﺍﺟﻊ ﻟﻄﺒﻴﻌﺔ ﺍﳌﻨﻄﻘﺔ‬
‫ﻭﻃﺒﻴﻌﺔ ﺃﻫﻠﻬﺎ ﺍﻟﺒﺪﻭﻳﲔ‪ ،‬ﻫﺬﻩ ﺍﻟﺒﺪﺍﻭﺓ ﻣﻜﻨﺖ ﺍﻹﻧﺴﺎﻥ ﺍﳌﺴﻴﻠﻲ"ﻣﻦ ﺍﻻﺳﺘﺌﻨﺎﺱ ﺇﱃ ﺍﳊﻴﻮﺍﻥ ﻭﻣـﻦ ﹼﰒ‬
‫ﻣﻼﺣﻈﺘﻪ ﻋﻦ ﻗﺮﺏ ﻭﺗﺮﺳﻴﺦ ﻣﻌﺮﻓﺘﻪ ﺑﻄﺒﺎﻋﺔ ﻭﺧﻮﺍﺻﻪ ﺍﳌﻌﻨﻮﻳﺔ ﻓﻀﻼ ﻋﻦ ﺍﳌﺎﺩﻳﺔ ﻭﺑﺴﺎﻃﺔ ﺍﻟﺒﺪﻭﻱ ﰒﹼ‬
‫ﺳﺬﺍﺟﺘﻪ ﺃﻗﺮﺏ ﻣﺎ ﺗﻜﻮﻥ ﺇﱃ ﺍﻟﺘﻤﺜﻴﻞ ﺑﺎﳊﻴﻮﺍﻥ ﻭﺍﺧﺘﺮﺍﻕ ﻋﺎﳌﻪ ﺍﻟﺪﺍﺧﻠﻲ ﻟﺘﺼﻮﻳﻎ ﺑﻌﺾ ﻣﻮﺍﻗﻔﻪ ﻣـﻦ‬
‫) ‪(1‬‬
‫ﻋﺎﳌﻪ ﻫﻮ "‬
‫ﻓﺤﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ ﺇﺫﻥ‪ ،‬ﻫﻲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﱵ ﻳﻘﻮﻡ ﻓﻴﻬﺎ ﺍﳊﻴﻮﺍﻥ ﺑﺄﺩﻭﺍﺭ ﺭﺋﻴﺴﻴﺔ‪ "،‬ﻭﺗﺸﺘﺮﻙ‬
‫ﻣﻊ ﺷﺨﻮﺹ ﺁﺩﻣﻴﺔ ﰲ ﺗﻠﺨﻴﺺ ﲡﺮﺑﺔ ﺃﻭ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻏﺎﻳﺔ ﺃﺧﻼﻗﻴﺔ ﻭﻭﻋﻈﻴﺔ‪ ،‬ﻭﺗﻌﻄﻲ ﺍﳊﻜﺎﻳﺔ‬
‫) ‪(2‬‬
‫ﻟﻠﺤﻴﻮﺍﻥ ﺭﻭﺣ‪‬ﺎ ﻭﻭﻋﻴﺎ‪ ،‬ﻭﲡﻌﻠﻪ ﺷﺒﻴﻬﺎ ﺑﺎﻹﻧﺴﺎﻥ "‬
‫ﺇﻥﹼ ﺭﻭﺍﻳﺔ ﺍﻟﻘﺼﺺ ﺍﳊﻴﻮﺍﱐ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻻ ﺗﺮﺗﺒﻂ ﲟﻨﺎﺳﺒﺔ ﳏﺪﺩﺓ‪ ،‬ﻭﻻ ﺑﺰﻣﻦ ﻣﻌﲔ ﺍﻷﻣﺮ‬
‫ﺍﻟﺬﻱ ﺳﺎﻫﻢ ﰲ ﺭﻭﺍﺝ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﺍﻟﻘﺼﺼﻲ‪ ،‬ﻭﻛﺜﺮﺓ ﺍﻹﻗﺒﺎﻝ ﻋﻠﻴـﻪ‪ ،‬ﺿـﻒ ﺇﱃ ﺫﻟـﻚ ﻃﺒﻴﻌـﺔ‬
‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳊﻴﻮﺍﻧﻴﺔ ﺍﳌﺮﺣﺔ‪ ،‬ﺍﻟﱵ ﺗﻨﻔﹼﺬ ﺃﺩﻭﺍﺭﻫﺎ ﻭﻓﻖ ﻣﺎ ﺭﲰﺘﻪ ﳍﺎ ﺍﳌﺨﻴ‪‬ﻠﺔ ﺍﻟﺸﻌﺒﻴﺔ‪.‬ﻣﻊ ﺍﻟﻌﻠـﻢ ﺃﻥﹼ‬
‫ﻫﺬﻩ ﺍﻷﺩﻭﺍﺭ ﻣﺴﺘﻮﺣﺎﺓ ﻣﻦ ﻃﺒﺎﻉ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺍﳊﻘﻴﻘﻴﺔ؛ ﻛﻤﻜﺮ ﺍﻟﺬﺋﺐ ﻭﺍﺣﺘﻴﺎﻟﻪ ﻭﺷﺠﺎﻋﺔ ﺍﻷﺳـﺪ‬
‫ﻭﲡﱪﻩ‪ ،‬ﻭﺩﻫﺎﺀ ﺍﻟﻘﻨﻔﺪ‪ ،‬ﻭﻏﺒﺎﺀ ﺍﳊﻤﺎﺭ‪.‬‬
‫ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺍﻟﱵ ﻛﺎﻥ ﳍﺎ ﺍﺭﺗﺒﺎﻁ ﻛﺒﲑ‪ ‬ﲝﻴﺎﺓ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴـﻴﻠﻲ ﺍﻟﻴﻮﻣﻴـﺔ‬
‫ﻛﺎﻟﻘﻄﺔ ﻭﺍﻟﻜﻠﺐ ﻭﺍﻷﺭﻧﺐ ﻭﺍﳊﺼﺎﻥ ﻭﺍﻟﺸﺎﺓ ﻭﺍﻟﻄﲑ ﻭﺍﻟﻨﺤﻞ ﻭﺍﻟﺜﻌﻠـﺐ‪ ،‬ﻭﺍﳊﻴ‪‬ـﺎﺕ ﻭﺍﻟﻌﻘـﺎﺭﺏ‬
‫ﻭﻏﲑﻫﺎ‪ ،‬ﻓﻜﻞ ﻫﺬﻩ ﺍﳊﻴﻮﺍﻧﺎﺕ ﲡﺘﻤﻊ ﰲ ﻋﺎﳌﻬﺎ ﺍﳋﺎﺹ ﺍﻟﺬﻱ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ " ﻋﺎﱂ ﻣﺴﺘﻘﻞ ﻗـﺎﺋﻢ‬

‫)*( ﻳ‪‬ﻨﻈﺮ ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪ ،‬ﺹ ‪.178‬‬

‫)‪ (1‬ﻧﺎﺻﺮ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ‪:‬ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ‪ ،‬ﺷﻌﺒﻴﺘﻬﺎ ﻭﻣﻮﺍﻗﻒ ﺇﻧﺴﺎ‪‬ﺎ ﺍﻟﺸﻌﱯ‪،‬ﺹ‪.151‬‬
‫)‪ (2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪،‬ﺹ‪.124‬‬
‫‪- 105 -‬‬
‫ﺑﺬﺍﺗﻪ ﻟﻜﻨﻪ ﻳﻮﺍﺯﻱ ﺍﻟﻌﺎﱂ ﺍﻹﻧﺴﺎﱐ‪ ،‬ﺗﺘﺼﺮﻑ ﻛﺎﺋﻨﺎﺗﻪ ﺗﺼﺮﻑ ﺍﻟﺒﺸﺮ‪ ،‬ﻓﺘﺤـﺐ ﻭﺗﻜـﺮﻩ ﻭﲢﺘـﺎﻝ‬
‫) ‪(1‬‬
‫ﻭﲤﻜﺮ"‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﻣﺼﺎﺩﺭ ﺍﻟﻘﺼﺺ ﺍﳊﻴﻮﺍﱐ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻛﺜﲑﺓ‪ ،‬ﻳﺄﰐ ﰲ ﻣﻘﺪﻣﺘﻬﺎ‬
‫ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﻭﻣﺎ ﺗﻀﻤﻨﻪ ﻣﻦ ﺣﻜﺎﻳﺎﺕ ﺍﻷﻧﺒﻴﺎﺀ ﻣﻊ ﺍﳊﻴﻮﺍﻧﺎﺕ ﻛﻘﺼﺔ ﺳﻴﺪﻧﺎ ﺳﻠﻴﻤﺎﻥ ﻣﻊ ﺍﳍﺪﻫـﺪ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻗﺼﺺ ﺍﻟﻨﻤﻞ ﻭﺍﻟﻨﺤﻞ ﻭﺍﻟﺒﻘﺮ‪...،‬ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻐﻔﻞ ﻋﻦ ﺍﻟﺪﻭﺭ ﺍﻟﺬﻱ ﻟﻌﺒﺘﻪ ﺣﻜﺎﻳﺎﺕ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ‪ ،‬ﻭﺣﻜﺎﻳﺎﺕ ﺃﻟـﻒ ﻟﻴﻠـﺔ‬
‫ﻭﻟﻴﻠﺔ ﺇﺫ ﻛﺎﻥ ﺗﺄﺛﲑﻫﺎ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﺴﻴﻠﻴﺔ ﻛﺒﲑ‪‬ﺍ‪" ،‬ﻭﱂ ﻳﻘﺘﺼﺮ ﺗﺄﺛﲑ ﻛﺘﺎﺏ ﺃﻟﻒ ﻟﻴﻠـﺔ ﻭﻟﻴﻠـﺔ ﰲ‬
‫ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ‪ ،‬ﻋﻠﻰ ﺭﻭﺍﺝ ﻗﺼﺺ ﻣﻘﺘﺒﺴﺔ ﻣﻨﻪ ﺃﻭ ﺍﶈﺎﻓﻈﺔ ﻋﻠﻰ ﺃﺑﻄﺎﳍﺎ ﺍﳌﺸـﻬﻮﺭﻳﻦ‬
‫) ‪(2‬‬
‫ﺑﻞ ﻳﺘﻌﺪﻯ ﺇﱃ ﺍﻟﺘﺤﻮﻳﺮ ﺍﶈﻠﹼﻲ ﻧﻔﺴﻪ ﺍﻟﺬﻱ ﳜﻠﻖ ﻗﺼﺼﺎ ﺑﺄﺳﻠﻮﺏ ﻣﺼﺒﻎ ﺑﺼﺒﻐﺔ ﺃﻟﻒ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ"‬
‫ﻛﻤﺎ ﻛﺎﻥ ﻟﻜﺘﺎﺏ ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﺗﺄﺛﲑ ﰲ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‪ ،‬ﻭﺍﻟﱵ ﻛﺎﻧﺖ ﺗﻌﻤﻞ ﻋﻠﻰ‬
‫ﺍﻗﺘﻨﺎﺋﻪ ﺑﺎﺳﺘﻤﺮﺍﺭﻩ‪ ،‬ﻭﺍﻻﺳﺘﻔﺎﺩﺓ ﻣﻦ ﻣﻮﺍﺿﻴﻌﻪ ﻭﲡﺎﺭﺑﻪ‪ ،‬ﻓﺎﻟﻜﺘﺎﺏ ﻗﻴ‪‬ﻢ ﳌﺎ ﳛﺘﻮﻳﻪ ﻣﻦ "ﻣﻐﺰﻯ ﺃﺧﻼﻗﻲ‬
‫) ‪(3‬‬
‫ﺃﻭ ﻗﺼﺪ ﺇﱃ ﻟﻮﻡ ﺍ‪‬ﺘﻤﻊ ﻭﻧﻘﺪﻩ‪ ،‬ﻭﺍﺳﺘﻌﻤﺎﻝ ﺍﳊﻴﻮﺍﻥ ﰲ ﺩﻭﺭ ﺇﻧﺴﺎﱐ ﻟﻠﻮﻡ ﻭﺍﻟﻨﺼﻴﺤﺔ"‬
‫ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺍﻧﻌﻜﺲ ﻋﻠﻰ ﺍﳊﻜﺎﻳﺎﺕ ﺍﶈﻠﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﻭﺟﻌﻠﻬﺎ ﺗ‪‬ﺼ‪‬ﺒﻎﹸ ﺑﹺﺼ‪‬ﺒ‪‬ﻐ‪‬ﺔ‪ ‬ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﻛﻤـﺎ‬
‫ﺟﻌﻠﻬﺎ ﺗﺸﺎﺭﻛﻬﺎ ﰲ ﺃﻣﻮﺭ ﻋﺪ‪‬ﺓ‪ ،‬ﻛﺘﻠﻚ ﺍﳌﺘﻌﻠﻘﺔ ﺑﻮﺍﺟﺒﺎﺕ ﺍﻟﺮﺍﻋﻲ ﻭﺍﻟﺮﻋﻴﺔ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺈﻥﹼ ﺣﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ ﺍﳌﺴﻴﻠﻴﺔ ﻫﻲ ﰲ ﺃﻏﻠﺒﻬﺎ ﺍﻧﻌﻜﺎﺱ ﳊﻜﺎﻳﺎﺕ ﺃﻟﻒ ﻟﻴﻠﺔ ﻭﻛﻠﻴﻠـﺔ‬
‫ﻭﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ "ﺍﻟﻠﺬﺍﻥ ﻣﺜﹼﻠﺘﺎ ﺍﻟﻴﻨﺒﻮﻉ ﺍﻟﺮﺋﻴﺴﻲ ﺍﻟﺬﻱ ﺗﺮﺗﻮﻱ ﻣﻨﻪ ﺍﻷﻭﺳﺎﻁ ﺍﻟﺸﻌﺒﻴﺔ ﺍﺭﺗـﻮﺍﺀً ﺩﺍﺋﻤـﺎ‬
‫ﻭﻣ‪‬ﺴﺘﻤﺮ‪‬ﺍ ﻭﺗﻘﻠﺪﳘﺎ ﰲ ﻛﺜﲑ ﻣﻦ ﺍﻷﺣﻴﺎﻥ" )‪.(4‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥﹼ ﺣﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ ﺍﳌﺴﻴﻠﻴﺔ ﺃﺩ‪‬ﺕ ﺩﻭﺭ‪‬ﺍ ﻛﺒﲑ‪‬ﺍ ﰲ ﻧﻘﺪ ﺍ‪‬ﺘﻤـﻊ ﺍﶈﻠﹼـﻲ‬
‫ﺑﺄﻧﻈﻤﺘﻪ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻛﻤﺎ ﻣﺜﻠﺖ ﻭﺳﻴﻠﺔ ﻫﺎﻣﺔ ﳊﻔﻆ ﺍﻷﺧﻼﻕ ﻭﺗﻘﻮﳝﻬﺎ ﻭﺍﻟﻌﻤﻞ ﻋﻠـﻰ‬
‫ﻧﺸﺮﻫﺎ‪ ،‬ﻭﻫﻲ ﺃﻳﻀﺎ ﻣﻨﺒﻊ ﻟﻠﺘﺴﻠﻴﺔ ﻭﺍﻟﺘﺮﻓﻴﻪ‪ ،‬ﻓﺤﻜﺎﻳﺔ ﺍﳊﻴﻮﺍﻥ ﺇﺫﻥ‪ ",‬ﺗﺸﺮﺡ ﻭﲢﻜﻲ ﻭﺗﺴﻠﹼﻲ ﻭﺗﻌﻠﹼﻢ‪،‬‬

‫)‪ (1‬ﻭﺩﻳﻌﺔ ﻃﻪ ﳒﻢ‪ :‬ﺍﻟﺮﻣﺰ ﺑﺎﳊﻴﻮﺍﻥ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﻟﻘﺪﱘ‪ ،‬ﳎﻠﺔ ﺍﻟﻌﺮﰊ ‪ ،‬ﺍﻟﻌﺪﺩ ‪،316‬ﺹ‪.29‬‬
‫)‪ (2‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ‪،‬ﺹ‪.215‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.211‬‬
‫)‪ (4‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪،‬ﺹ‪.212‬‬
‫‪- 106 -‬‬
‫ﻣﺎﺯﺟﺔ ﻛﻞﹼ ﻫﺬﻩ ﺍﻷﻏﺮﺍﺽ ﻣﺰﺟﺎ ﺑﺪﻳﻌﻴﺎ‪ ،‬ﺇﻧﻪ ﻣﺰﺝ ﻋﺠﻴﺐ‪ ،‬ﺑﻞ ﻫﻮ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﳏﻴ‪‬ﺮ ﻭﻟﻜﻨﻪ‬
‫) ‪(1‬‬
‫ﻣﺜﲑ ﻟﻠﻨﺸﺎﻁ "‬
‫ﻭﻣﻦ ﺍﻟﻨﻤﺎﺫﺝ ﺍﳊﻜﺎﺋﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺍﻟﱵ ﲡﺮﻱ ﺃﺣﺪﺍﺛﻬﺎ ﻋﻠﻰ ﺃﻟﺴﻨﺔ ﺍﳊﻴﻮﺍﻥ ﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ*‪،‬‬
‫ﻭﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ ﻭﺍﻟﻀﺒﻊ** ﺍﻟﱵ ﺗﺘﻤﻴﺰ ﺑﻄﺮﺍﻓﺘﻬﺎ ﻭﻟﻜﻨﻬﺎ ﰲ ﺍﳊﻘﻴﻘﺔ ﺫﺍﺕ ﻣﻐﺰﻯ ﺃﺧﻼﻗﻲ ﺗﺮﺑﻮﻱ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﺍﻷﺻﻨﺎﻑ ﺍﳌﻘﺪ‪‬ﻣﺔ ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﻟﺸـﻌﺒﻴﺔ ﰲ ﺍﳌﻨﻄﻘـﺔ‪ ،‬ﺍﻧﻄﻼﻗـﺎ ﻣـﻦ‬
‫ﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﺭﺳ‪‬ﺨﺖ ﰲ ﺃﺫﻫﺎﻧﻨﺎ ﻧﺘﻴﺠﺔ ﻣﻀﻤﻮ‪‬ﺎ ﺃﻥﹼ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ ﺣﱴ‪ ‬ﻭﺇﻥ ﻭ‪‬ﺿﻌﺖ ﳍﺎ ﺃﺻﻨﺎﻑ‬
‫ﻭﺃﻧﻮﺍﻉ ﺗﺒﻘﻰ ﺩﺍﺋﻤﺎ ﻣﺘﺸﺎﺑﻜﺔ ﻭ ﻣﺘﺪﺍﺧﻠﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻭﺍﻟﺴﺒﺐ ﺃﻧﻚ ﻗﺪ ﲡـﺪ ﰲ ﺣﻜﺎﻳـﺔ ﺍﻟﻮﺍﻗـﻊ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻲ ﺟﺎﻧﺒﺎ ﺃﺧﻼﻗﻴﺎ‪ ،‬ﻭﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻷﺧﻼﻗﻴﺔ ﺟﺎﻧﺒﺎ ﻫﺰﻟﻴﺎ ﻭﰲ ﺍﳊﻜﺎﻳﺔ ﺍﳍﺰﻟﻴﺔ ﺟﺎﻧﺒﺎ ﺍﺟﺘﻤﺎﻋﻴﺎ‬
‫ﻭﻫﻜﺬﺍ ﺩﻭﺍﻟﻴﻚ‪.‬‬
‫ﻭﻣﺎ ﺗﺘ‪‬ﻔﻖ ﺣﻮﻟﻪ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ ﲨﻴﻌﻬﺎ ﺃﻧ‪‬ﻬﺎ ﻭ‪‬ﻇﹼﻔﺖ ﳌﻌﺎﳉﺔ ﻭﺍﻗﻊ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﳌﺴﻴﻠﻲ ﲟﺨﺘﻠﻒ‬
‫ﲡﻠﻴﺎﺗﻪ‪.‬‬

‫)‪ (1‬ﻓﻮﻥ ﺩﻳﺮ ﻻﺑﻦ‪ :‬ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻧﺸﺄ‪‬ﺎ‪ ،‬ﻣﻨﺎﻫﺞ ﺩﺭﺍﺳﺘﻬﺎ‪،‬ﻓﻨﻴﺘﻬﺎ‪ ،‬ﺗﺮﲨﺔ‪ :‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ ،‬ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪) ،‬ﺩ ﻁ(‪) ،‬ﺩ ﺕ(‪،‬ﺹ‪.90‬‬
‫)*( ﻳ‪‬ﻨﻈﺮ ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪ ،‬ﺹ‪.174‬‬
‫)**(‬
‫ﻳ‪‬ﻨﻈﺮ ﻟﻠﺤﻜﺎﻳﺔ ﻛﺎﻣﻠﺔ ﰲ ﺍﳌﻠﺤﻖ‪ ،‬ﺹ ‪.199‬‬
‫‪- 107 -‬‬
 ‫راﺑﻌﺎ‪-‬وﻇﺎﺋﻒ اﻟﺤﻜﺎﻳﺔ اﻟﺸّﻌﺒﻴﺔ ﻟﺪى اﻹﻧﺴﺎن اﻟﺸﻌﺒﻲ ﻓﻲ اﻟﻤﻨﻄﻘﺔ‬
‫ﺇﻥﹼ ﻭﺟﻮﺩ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻣﺮﺗﺒﻂ ﲟﺎ ﺗﺆﺩﻳﻪ ﻣﻦ ﻭﻇﺎﺋﻒ ﻣﺘﻨﻮﻋـﺔ ﺩﺍﺧـﻞ‬
‫ﺍ‪‬ﺘﻤﻊ ﺍﳊﻀﲏ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻭﻻ ﺯﺍﻟﺖ ﺗﺆﺩ‪‬ﻱ ﳎﻤﻮﻋـﺔ ﻣـﻦ‬
‫ﺍﻟﻮﻇﺎﺋﻒ ﺗﺴﺎﻫﻢ ﰲ ﺗﻜﻮﻳﻦ ﺍﻟﻔﺮﺩ ﻭﲢﻀﲑﻩ ﳋﻮﺽ ﻏﻤﺎﺭ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻣﻮﺍﺟﻬـﺔ ﺍﻟﺼـﻌﻮﺑﺎﺕ ﺍﻟـﱵ‬
‫ﺗﻌﺘﺮﺽ ﻃﺮﻳﻘﻪ‪ ،‬ﻭﻫﺬﺍ ﻳﻌﲏ ﺣﻀﻮﺭ ﺍﳊﻜﺎﻳﺔ ﰲ ﻛﻞﹼ ﻣﻴﺎﺩﻳﻦ ﺍﳊﻴﺎﺓ ﺳﻮﺍﺀ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﺃﻭ ﺍﻟﺴﻴﺎﺳﻴﺔ ﺃﻭ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪...‬‬
‫" ﻭﺍﻣﺘﻼﻙ ﺍﻟﺒﺸﺮ ﻃﺎﻗﺔ ﻫﺎﺋﻠﺔ ﰲ ﺳﺮﺩ ﺍﳊﻜﺎﻳﺎﺕ ﻭﺗﺒﺎﺩﳍﺎ‪ ،‬ﻭﺍﺳﺘﻘﺒﺎﳍﺎ ﻫـﻮ ﺃﺣـﺪ ﺃﻭﺟـﻪ‬
‫ﺍﺟﺘﻤﺎﻋﻬﻢ ﻭﺍﺷﺘﺮﺍﻛﻬﻢ ﰲ ﺇﻧﺸﺎﺀ ﲨﺎﻋﻲ ﻟﻌﺎﱂ ﻣﻨﺘﻈﻢ ﺫﻱ ﻣﻌﲎ‪ ،‬ﻭﻋﻦ ﻃﺮﻳﻖ ﺗـﺪﺍﻭﻝ ﺍﳊﻜﺎﻳـﺔ‪،‬‬
‫ﻭﺗﻮﺳﻴﻌﻬﺎ ﺇﱃ ﺣﻜﺎﻳﺔ ﻋﻦ ﺍﳊﻜﺎﻳﺔ ‪ ،‬ﻭﻛﺘﺎﺑﺔ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺑﺔ ﻭﻋﻨﻬﺎ‪ ،‬ﻓﺈﻧ‪‬ﻨﺎ ﻧﺴﺘﻜﺸﻒ ﻣﻌـﲎ ﺍﳊﻴـﺎﺓ‬
‫ﺍﻹﻧﺴﺎﻧﻴﺔ ‪،‬ﻭﻟﻌﻠﻨﺎ ﳔﺘﺮﻉ ﺫﻟﻚ ﺍﳌﻌﲎ ﺇﺫﺍ ﻋﺰ‪ ‬ﺍﻛﺘﺸﺎﻓﻪ")‪ ،(1‬ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲤﺜﻞ ﺫﻟﻚ ﺍﳉﺰﺀ ﺍﳌﻬﻢ‪‬‬
‫ﻣﻦ ﺗﺮﺍﺙ ﺍﳌﺴﻴﻠﲔ ﺍﳌﻌﺒ‪‬ﺮ ﻋﻦ ﻫﻮﻳﺘﻬﻢ‪.‬‬
‫ﻭﻣﻦ ﺧﻼﻝ ﺗﺘﺒﻌﻨﺎ ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﳌﺨﺘﺎﺭﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ﻭﻣﻌﺎﻳﺸﺘﻨﺎ ﻷﻓﺮﺍﺩ ﺍ‪‬ﺘﻤﻊ ﺍﻟـﺬﻱ ﺗﺒﻨ‪‬ﺎﻫـﺎ‬
‫ﻻﺣﻈﻨﺎ ﺗﻼﺷﻲ ﺑﻌﺾ ﺍﳊﻜﺎﻳﺎﺕ ﰲ ﺍﳌﻨﻄﻘﺔ ﻭﺑﻘﺎﺀ ﺑﻌﻀﻬﺎ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﺗﻼﺷﻲ ﺟﺰﺀ ﻣـﻦ ﺍﻟﻮﻇـﺎﺋﻒ‬
‫ﺍﳉﻤ‪‬ﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺆﺩﻳﻬﺎ ﺍﳊﻜﺎﻳﺔ ﺳﺎﺑﻘﺎ‪ ،‬ﻭﺿﻌﻒ ﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ‪ ،‬ﻭﻟﻜﻦ ﺭﻏﻢ ﺫﻟﻚ ﻇﻠﺖ ﺍﳊﻜﺎﻳﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﳏﺎﻓﻈﺔ ﻋﻠﻰ ﻭﺟﻮﺩﻫﺎ ﰲ ﺍﳌﻨﻄﻘﺔ ﳌﺎ ﺭﺃﻳﻨﺎﻩ ﻣﻦ ﺗﺄﺛﲑﻫﺎ ﺍﻟﻘﻮﻱ ﻋﻠﻰ ﺃﻓﺮﺍﺩ ﺍ‪‬ﺘﻤﻊ ﺍﳌﺴـﻴﻠﻲ‬
‫ﺻﻐﺎﺭ‪‬ﺍ ﻛﺎﻧﻮﺍ ﺃﻭ ﻛﺒﺎﺭ‪‬ﺍ ‪..‬‬
‫ﻭﺳﻨﻌﺮﺽ ﻓﻴﻤﺎ ﻳﻠﻲ ﺟﺎﻧﺒﺎ ﻣﻦ ﺍﻟﻮﻇﺎﺋﻒ ﺍﳉﻤ‪‬ﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﻭﻻ ﺯﺍﻟﺖ ﺗﺆﺩﻳﻬﺎ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﺩﺍﺧﻞ ﺍ‪‬ﺘﻤﻊ ﺍﳌﺴﻴﻠﻲ‪ ،‬ﻭﺍﻟﱵ ﻳﺄﰐ ﰲ ﻣﻘﺪ‪‬ﻣﺘﻬﺎ‪ :‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﺑﻮﻳﺔ ‪،‬ﺍﻟﻮﻇﻴﻔـﺔ ﺍﻟﺘﺮﻓﻴﻬﻴـﺔ‬
‫ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﻭﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﺜﻘﻴﻔﻴﺔ‪.‬‬
‫ﺇﻥﹼ ﻭﻗﻮﻓﻨﺎ ﻋﻨﺪ ﻣﺜﻞ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻮﻇﺎﺋﻒ ‪ ،‬ﻭﺗﺪﻋﻴﻤﻪ ﺑﺎﻟﺘﺤﻠﻴﻞ ﻭﺍﻟﺘﻤﺜﻴﻞ ﺩﻭﻥ ﻏﲑﻩ ﻣـﻦ‬
‫ﺍﻟﻮﻇﺎﺋﻒ ﺍﻷﺧﺮﻯ‪ ،‬ﺭﺍﺟﻊ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ‪ ،‬ﺇﱃ ﻃﺒﻴﻌﺔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺘﺪﺍﻭﻟﺔ ﺑﻜﺜﺮﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ‪،‬‬
‫ﺿﻒ ﺇﱃ ﺫﻟﻚ ﳎﻤﻮﻋﺔ ﺍﻷﺟﻮﺑﺔ ﺍﻟﱵ ﺣﺼ‪‬ﻠﻨﺎﻫﺎ ﻣﻦ ﺧﻼﻝ ﻃﺮﺣﻨﺎ ﻟﻺﺷﻜﺎﻝ ﺍﻟﺘﺎﱄ ﻋﻠﻰ ﺍﳉﻤﺎﻋـﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ‪ :‬ﳌﺎﺫﺍ ﲢﻜﹸﻮﻥ؟ ﺃﻭ ﲝﺴﺐ ﳍﺠﺔ ﺍﳌﻨﻄﻘﺔ" ﻻﹶﻩ‪ ‬ﺗ‪‬ﺤ‪‬ﻜ‪‬ﻴﻮ‪ ‬؟"‬

‫ﺻﺒﺤﻲ ﺣﺪﻳﺪﻱ‪ :‬ﳎﻤﻊ ﺍﻷﺳﺮﺍﺭ‪ ،‬ﺟﺪﻝ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﳎﻠﺔ ﺍﻟﻄﺮﻳﻖ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻉ‪ ،1‬ﻓﱪﺍﻳﺮ‪2001 ،‬ﻡ‪ ،‬ﺹ ‪.129‬‬ ‫) ‪(1‬‬

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‫ﻓﺘﻨﻮ‪‬ﻉ ﺍﻹﺟﺎﺑﺎﺕ ﺳﻬﻞ ﻋﻠﻴﻨﺎ ﻋﻤﻠﻴﺔ ﺗﺼﻨﻴﻒ ﺍﻟﻮﻇﺎﺋﻒ‪ ،‬ﺣﻴﺚ ﲡﺪ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‬
‫ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺳﻴﻠﺔ ﻟﻠﺘ‪‬ﺴﻠﻴﺔ‪ ،‬ﰲ ﺣﲔ ﻳﺮﺍﻫﺎ ﺍﻟﺒﻌﺾ ﲢﻤﻞ ﺩﺭﻭﺳ‪‬ﺎ ﺗ‪‬ﺮ‪‬ﺑ‪‬ﻲ ﻣﻦ ﺧﻼﳍﺎ ﺍﻷﺟﻴﺎﻝ‪،‬‬
‫ﺃﻣﺎ ﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ ﻓﻴﺠﺪﻫﺎ ﳎﻤﻮﻋﺔ ﻗﻮﺍﻋﺪ ﺗﻨﻈﹼﻢ ‪‬ﺎ ﺍﳊﻴﺎﺓ‪....‬ﻭﻏﲑﻫﺎ‪ .‬ﻣﻦ ﺍﻵﺭﺍﺀ ﺍﳌﺨﺘﻠﻔـﺔ ﺍﻟـﱵ‬
‫ﺳﺎﻋﺪﺗﻨﺎ ﰲ ﻋﻤﻠﻨﺎ ﻛﺜﲑ‪‬ﺍ‪.‬ﻭﻋﻤﻮﻣ‪‬ﺎ ﻓﻮﻇﺎﺋﻒ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻲ‪:‬‬
‫‪ -1‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﺑﻮﻳﺔ‪:‬‬
‫ﺗﱪﺯ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﺍﻟﺘ‪‬ﺮﺑﻮﻳﺔ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺑﺼﻮﺭﺓ ﻣﻠﻔﺘﺔ ﻟﻼﻧﺘﺒﺎﻩ‪،‬ﻓﻌـﺎﱂ‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﺮﺗﺒﻂ ﺑﺎﻟﻮﺍﻗﻊ ﺍﻟﺸﻌﱯ ﺫﻱ ﺍﻷﺣﺪﺍﺙ ﺍﳌﺘﺄﺯﻣﺔ‪ ،‬ﻭﻣﻌﺎﳉﺔ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﲢﺘﻢ ﺍﻟﺘﻄـﺮﻕ‬
‫ﺇﱃ ﺃﺳﺒﺎﺏ ﺍﻟﺘﺄﺯﻡ ﻭﳏﺎﻭﻟﺔ ﺇﻟﻐﺎﺋﻬﺎ‪ ،‬ﻓﻜﺎﻧﺖ ﺍﳊﻜﺎﻳﺔ ﻫﻲ ﺍﻟﺴﺒ‪‬ﺎﻗﺔ ﺇﱃ ﺍﺣﺘﻮﺍﺀ ﺍﻟﻮﺿﻊ ﻭﺗﺼـﺤﻴﺤﻪ‪،‬‬
‫ﻭﻛﺎﻥ ﺍﻟﻘﺼﺎﺹ ﺍﻟﻠﺴﺎﻥ ﺍﻟﻨﺎﻃﻖ ﺑﺬﻟﻚ‪.‬‬
‫ﻓﺎﲡﻬﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺇﱃ ﺗﺮﺑﻴﺔ ﺍﻟﻨﺶﺀ ‪ ،‬ﻭﻏﺮﺱ ﺍﻟﻘﻴﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﳌﺜﺎﻟﻴﺔ ﻓﻴﻪ ﻣﻦ ﺣﻔﺎﻅ‬
‫ﻋﻠﻰ ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ‪ ،‬ﻭﺍﻧﺘﺼﺎﺭ ﻟﻠﺤﻖ ﻭﺍﳋﲑ‪ ،‬ﻭﻧﺒﺬ ﻟﻠﻈﻠﻢ ﻭﺍﻟﻔﺴﺎﺩ‪ "،‬ﻷﻥﹼ ﻭﻇﻴﻔﺔ ﺍﻟﻘﺺ ﺗﺘﻤﺜﻞ‬
‫ﰲ ﺩﻋﻤﻪ ﻟﻠﻤﻌﺘﻘﺪﺍﺕ‪ ،‬ﻭﺍﻟﻘﻴﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﳌﻮﺭﻭﺛﺔ‪ ،‬ﻭﺍﻟﻌﺎﺩﺍﺕ‪ ،‬ﻭﺍﻟﺘﻘﺎﻟﻴـﺪ‪ ،‬ﻭﰲ ﳏﺎﻓﻈﺘـﻪ ﻋﻠـﻰ‬
‫) ‪(1‬‬
‫ﺍﺳﺘﻘﺮﺍﺭ ﺍﻟﻨﻤﻂ ﺍﳊﻀﺎﺭﻱ‪"...‬‬
‫ﻟﻘﺪ ﻋﺮﻓﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺍﺯﺩﻫﺎﺭ‪‬ﺍ ﻭﺭﻭﺍﺟﺎ ﻛﺒﲑﻳﻦ ﰲ ﻣﺮﺣﻠﺔ ﻣﻦ ﺗﺎﺭﻳﺦ ﺍﳌﻨﻄﻘﺔ‪،‬‬
‫ﺃﻻ ﻭﻫﻲ ﻣﺮﺣﻠﺔ ﺍﻻﺳﺘﻌﻤﺎﺭ ﺍﻟﻔﺮﻧﺴﻲ‪ ،‬ﺣﻴﺚ ﺃﺩ‪‬ﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﺩﻭﺭ ﺍﳌﺸﺠﻊ ﻋﻠـﻰ‬
‫ﺍﻟﺜﻮﺭﺓ‪ ،‬ﻛﻤﺎ ﻋﻠﹼﻤﺖ ﺍ‪‬ﺘﻤﻊ ﻣﻌﲎ ﺍﳊﺮﻳﺔ‪ ،‬ﻭﺍﻟﺒﻄﻮﻟﺔ ﻟﺬﻟﻚ ﳒﺪ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﻛﺜﲑ‪‬ﺍ ﻣـﺎ‬
‫ﻳﺴﺘﺤﻀﺮ ﰲ ﺣﻜﺎﻳﺎﺗﻪ ﺷﺨﺼﻴﺎﺕ ﺑﻄﻮﻟﻴﺔ ﻛﻌﻠﻲ ﻭﻋﻨﺘﺮﺓ‪...‬ﻭﺍﻟﱵ ﻛﺎﻥ ﳍﺎ ﺍﺭﺗﺒﺎﻁ ﻛﺒﲑ ﺑﺎﻟـﺬﺍﻛﺮﺓ‬
‫ﺍﳉﻤﺎﻋﻴﺔ ﻟﺴﻜﺎﻥ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﺑﻐﻴﺔ ﺗﻐﻴﲑ ﺍﻟﻮﺿﻊ ﺍﳌﺰﺭﻱ ﺍﻟﺬﻱ ﺃﺣﺪﺛﻪ ﺍﻻﺳﺘﻌﻤﺎﺭ ﻭﳏﺎﻭﻟﺔ ﺇﻟﻐﺎﺋﻪ ﺑﻮﺍﺳﻄﺔ‬
‫ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺒﻄﻮﻟﻴﺔ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻧ‪‬ﻨﺎ ﻻﺣﻈﻨﺎ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺘﻨﺎ ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﳌﺨﺘﺎﺭﺓ ﺑﺮﻭﺯ ﺍﻟﻮﻇﻴﻔـﺔ‬
‫ﺍﻟﺘﺮﺑﻮﻳﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﺑﺼﻮﺭﺓ ﻣﻠﻔﺘﺔ ﻟﻼﻧﺘﺒﺎﻩ‪ ،‬ﺇﺫ ﻫﻲ ﺗﻌﻠﻢ ﺍﻟﺘﺤﻠﻲ ﺑﺎﻷﺧﻼﻕ ﺍﻟﻔﺎﺿﻠﺔ‪ ،‬ﻭﺍﻟﺘﻤﺴﻚ ﺑﺼﻠﺔ‬
‫ﺍﻟﺮﺣﻢ‪ ،‬ﻭﺍﻟﺘﺤﻠﻲ ﺑﻘﻴﻢ ﺍﻟﺸﺠﺎﻋﺔ ﺍﳌﺜﻠﻰ‪ ،‬ﻭﻃﺎﻋﺔ ﺍﻟﻮﺍﻟﺪﻳﻦ ﻭﻏﲑﻫﺎ‪...‬‬
‫ﻭﻗﺪ ﲡﻠﹼﻰ ﺫﻟﻚ ﰲ ﺣﻜﺎﻳﺎﺕ ﺍﳌﺴﻴﻠﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﺍﺧﺘﺮﻧﺎﻫﺎ ‪ ،‬ﺣﻴﺚ ﳒﺪ ﰲ ﺣﻜﺎﻳﺔ ﻭﺩﻋـﺔ‬
‫ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ ﺳﻌﻰ ﻭﺩﻋﺔ ﺇﱃ ﺍﻟﺒﺤﺚ ﻋﻦ ﺇﺧﻮ‪‬ﺎ ‪ ،‬ﻭﲢﻤ‪‬ﻠﻬﺎ ﺍﳌﺸﺎﻕ ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻴﻬﻢ‪ ،‬ﻓﻬﺬﺍ‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪ ،‬ﺹ‪.54‬‬

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‫ﻳﺪﻋﻮ ﺍﳌﺴﺘ‪‬ﻤﻌﲔ ﳌﺜﻞ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺔ ﺇﱃ ﺍﻟﺘﻤﺴﻚ ﺑﺼﻠﺔ ﺍﻟﺮﺣﻢ ﻭﺣﺐ ﺍﻹﺧﻮﺓ ﻟﺒﻌﻀـﻬﻢ ﺍﻟـﺒﻌﺾ‬
‫ﻭﻃﺎﻋﺔ ﺍﻟﻮﺍﻟﺪﻳﻦ‪.‬‬
‫ﻭﺭﻏﺒﺔ ﰲ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺍﻟﺼﻔﺎﺕ ﺍﳊﻤﻴﺪﺓ ﻭﺍﻟﻔﺎﺿﻠﺔ ‪ ،‬ﳒﺪ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺗﺘﺠﻪ‬
‫ﺇﱃ ﻭﺻﻒ ﺍﻟﺒﻄﻞ ﺑﺄﻧﻪ ﺷﺨﺼﻴﺔ ﻓﺎﺿﻠﺔ‪ ،‬ﺃﺧﻼﻗﻪ ﻋﺎﻟﻴﺔ ﺗﻜﺴﺒﻪ ﺣﺐ ﺍﻟﻨﺎﺱ ﻭﺗﺴﺎﻋﺪﻩ ﻋﻠﻰ ﺍﻻﻧﺘﺼﺎﺭ‬
‫ﰲ ﺣﻴﺎﺗﻪ ﺩﺍﺋﻤﺎ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻳﺪﻓﻊ ﺍﳌﺴﺘﻤﻌﲔ ﳍﺎ‪- ،‬ﻭﺧﺎﺻﺔ ﺍﻷﻃﻔﺎﻝ ﻣﻨـﻬﻢ‪ -‬ﻳﺘـﺄﺛﺮﻭﻥ ‪‬ـﺪﻩ‬
‫ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻭﺗﺼﺒﺢ ﺍﻟﺮﻏﺒﺔ ﻟﺪﻳﻬﻢ ﻣﻠﺤﺔ ﰲ ﺍﻻﺗﺼﺎﻑ ﺑﺼﻔﺎ‪‬ﺎ ﺍﻟﱵ ﺗﻜﺴﺒﻬﻢ ﺍﻟﺸﺠﺎﻋﺔ‪ ،‬ﻭﺣـﺐ‬
‫ﺍﻟﻨﺎﺱ ﺃﻳﻀﺎ‪.‬‬
‫ﺇﻥﹼ ﺃﻫﻢ ﻣﺎ ﳝﻴ‪‬ﺰ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﺍﻟﺼﺮﺍﻉ ﺍﻟﺪﺍﺋﻢ ﺑﲔ ﺍﳋﲑ ﻭﺍﻟﺸﺮ‪ ،‬ﻭﺍﻟﺬﻱ ﻳﻨﺘﻬﻲ ﰲ‬
‫ﺍﻟﻐﺎﻟﺐ ﺑﺎﻧﺘﺼﺎﺭ ﺍﳋﲑ‪ ،‬ﻓﻤﻦ ﻫﺬﺍ ﺍﳌﻨﻄﻠﻖ ﺍﺗﺴﻤﺖ ﺣﻜﺎﻳﺎﺕ ﺍﳌﻨﻄﻘﺔ ﺑﺎﻟﻄﺎﺑﻊ ﺍﻟﺘﻌﻠﻴﻤﻲ ﺣﻴﺚ ﻋﻤﻠﺖ‬
‫ﺍﳊﻜﺎﻳﺎﺕ ﻋﻠﻰ ﺍﻻﻧﺘﺼﺎﺭ ﻟﻠﺨﲑ‪ ،‬ﲝﺚﹼ ﺍﻟﻨﺎﺱ ﻋﻠﻰ ﺍﻻﺑﺘﻌﺎﺩ ﻋﻦ ﺍﻵﻓﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟـﱵ ﺗﻀـﺮ‬
‫ﺍ‪‬ﺘﻤﻊ ﻛﺎﻟﺴﺤﺮ‪ ،‬ﻭﺗﺪﺑﲑ ﺍﳌﻜﺎﺋﺪ‪ ،‬ﻭﺍﻟﻜﺬﺏ‪ ،‬ﻭﺍﻟﻔﺴﺎﺩ‪ ،‬ﻭﺍﻟﻈﻠﻢ‪ ،‬ﻷﻥﹼ ﺍﳊﻖ ﺳﻴﻈﻬﺮ ﰲ ﺍﻟﻨﻬﺎﻳﺔ‪.‬‬
‫ﻭﻳﺘﺠﻠﻰ ﺫﻟﻚ ﰲ ﺣﻜﺎﻳﺔ"ﻭﺩﻋﺔ" ﺇﺫ ﺑﻌﺪ ﺃﻥ ﺩﺑ‪‬ﺮ ﳍﺎ ﺍﻟﻨﺴﻮﺓ ﻣﻜﻴﺪﺓ ﺇﻃﻌﺎﻣﻬﺎ ﺑﻴﺾ ﺍﻷﻓـﺎﻋﻲ‬
‫ﻭﻣﻌﺎﻧﺎ‪‬ﺎ ﺟﺮ‪‬ﺍﺀ ﻫﺬﻩ ﺍﳌﻜﻴﺪﺓ‪ ،‬ﺟﺎﺀ ﰲ ﺍﻟﻨﻬﺎﻳﺔ ﻣﻦ ﳜﻠﺼﻬﺎ ﻣﻦ ﳏﻨﺘﻬﺎ ﻫﺬﻩ ﻭﻫﺬﺍ ﺩﻟﻴﻞ ﻋﻠﻰ ﺍﻧﺘﺼـﺎﺭ‬
‫ﺍﳋﲑ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺍﻛﺘﺸﺎﻑ ﺍﻹﺧﻮﺓ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﻭﻛﺸﻔﻬﻢ ﻟﻠﻤﺘﺴﺒﺐ ﰲ ﺃﺫﻳﺔ ﺃﺧﺘﻬﻢ ﻭﻣﻌﺎﻗﺒﺘﻬﻢ ﺇﻳ‪‬ﺎﻩ ﺷﺮ‪‬‬
‫ﺍﻟﻌﻘﺎﺏ‪ ،‬ﺩﻟﻴﻞ ﻋﻠﻰ ﺍﻧﺘﺼﺎﺭ ﺍﳋﲑ ﺃﻳﻀﺎ‪.‬‬
‫ﻭﺗﺼﺐ ﺣﻜﺎﻳﺔ" ﺑﻘﺮﺓ ﺍﻟﻴﺘﺎﻣﻰ" ﰲ ﻧﻔﺲ ﺍﳌﺼﺐ‪ ،‬ﻷ‪‬ﺎ ﺗﻌﺎﻗﺐ ﺯﻭﺟﺔ ﺍﻷﺏ ﻭﺍﺑﻨﺘﻬﺎ ﺍﻟﻌـﻮﺭﺍﺀ‬
‫ﻭﺗﻜﺎﻓﺊ ﺍﻟﺒﻄﻠﺔ ﻭﺃﺧﻴﻬﺎ ﺑﺎﻟﻨﺠﺎﺓ ﻣﻦ ﺍﳌﻮﺕ‪ ،‬ﻭﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ ﺗﺆﻛﺪ ‪‬ﺎﻳﺔ ﺍﻟﻄﹼﻴﺐ ﻭ‪‬ﺎﻳﺔ ﺍﻟﺸـﺮﻳﺮ‪،‬‬
‫ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﳛﺜﻨﺎ ﻋﻠﻰ ﻓﻌﻞ ﺍﳋﲑ ﻭﲡﻨﺐ ﺍﻟﺸﺮ‪.‬‬
‫ﻛﻤﺎ ﺗﺘ‪‬ﺴﻢ ﺣﻜﺎﻳﺎﺕ ﺍﳌﻨﻄﻘﺔ ﺑﺎﻟﻄﺎﺑﻊ ﺍﻟﻨﻘﺪﻱ ﺫﻱ ﺍﻟﻐﺎﻳﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ‪ ،‬ﻓﻬﻲ ﺗﱪﺯ ﻋﻴﻮﺏ ﺍ‪‬ﺘﻤﻊ‬
‫ﻭﺁﻓﺎﺗﻪ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻛﺎﻟﻐﺪﺭ ﻭﺍﳋﻴﺎﻧﺔ ﻭﺍﻟﻨﻤﻴﻤﺔ‪ ،‬ﻭﲢﺎﻭﻝ ﺇﺻﻼﺣﻬﺎ ﺑﺸﱴ ﺍﻟﻄﺮﻕ‪" ،‬ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﻻ ‪‬ﺘﻢ ﺑﺈﺑﺮﺍﺯ ﺍﻟﻌﻴﻮﺏ ﺍﻷﺧﻼﻗﻴﺔ ﻓﺤﺴﺐ‪ ،‬ﻟﻜﻨﻬﺎ ﺗﺸﲑ ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﺇﱃ ﺑﻌﺾ ﺍﻟﻘﻴﻢ ﺍﻹﳚﺎﺑﻴﺔ‬
‫ﺍﻟﱵ ﻳﺮﺍﻫﺎ ﺍﻟﺸﻌﺐ ﻣﻦ ﻭﺟﻬﻪ ﻧﻈﺮﻩ ﻣﺆﺩﻳﺔ ﺇﱃ ﺍﳊﻴﺎﺓ ﺍﳍﺎﺩﺋﺔ ﺍﻟﱵ ﳝﻜﻦ ﺃﻥ ﻳﻌﻴﺸﻬﺎ ﺍﻟﻔﺮﺩ ﰲ ﺗﻔـﺎﺅﻝ‬
‫) ‪(1‬‬
‫ﺗﺎﻡ"‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪ ،‬ﺹ‪.175‬‬

‫‪- 110 -‬‬
‫ﻟﻘﺪ ﻛﺎﻧﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺩﺳﺘﻮﺭ‪‬ﺍ ﻟﻠﻤﺴﻴﻠﻴﲔ ‪،‬ﻧﻈﻢ ﺣﻴﺎ‪‬ﻢ‪ ،‬ﻭﻭﺟﻬﻬﺎ ﺍﻟﻮﺟﻬﺔ ﺍﻟﺼﺤﻴﺤﺔ‬
‫ﺑﻘﻮﺍﻧﻴﻨﻬﺎ ﺍﻟﺼﺎﺭﻣﺔ ﺍﻟﱵ ﺃﺑﺪﻋﺘﻬﺎ ﺍﻟﻔﻄﺮﺓ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻷﻥ ﺍﻟﻮﺍﻗﻊ ﻳﺜﺒﺖ ﺫﻟﻚ‪ ،‬ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ" ﲪﻠﺖ‬
‫ﺍﻟﺘﻮﺟﻴﻬﺎﺕ ﻭﺍﻹﺷﺎﺭﺍﺕ ﺇﱃ ﺍﻟﺴﺒﻞ ﺍﳌﺜﻠﻰ ﰲ ﺍﳊﻜﻢ ﻭﺍﻟﺒﻘﺎﺀ‪ ،‬ﻭﺩﻋﺖ ﺇﱃ ﺍﻟﺘﻌـﺎﺭﻑ ﻭﺍﻟﺴ‪‬ـﻌﻲ ﺇﱃ‬
‫) ‪(1‬‬
‫ﺍﳋﲑ ﻭﺍﻟﺒﻌﺪ ﻋﻦ ﺍﻟﺸ‪‬ﺮ‪....‬‬
‫ﻓﻘﺪ ﻳﺴﺘﺼﻐﺮﻫﺎ ﺍﻟﺒﻌﺾ‪ ،‬ﻭﻳﺮﺍﻫﺎ ﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ ﻣﻀﻴﻌﺔ ﻟﻠﻮﻗﺖ‪ ،‬ﻻ ﻭﻇﻴﻔﺔ ﳍﺎ‪ ،‬ﻟﻜﻨﻨﺎ ﳒﺪ ﻓﻌﻼ‬
‫ﺑﺄﻧﻨﺎ ﻟﻮ ﻋﺪﻧﺎ ﺑﺎﻟﺰﻣﻦ ﻗﻠﻴﻼ ﺇﱃ ﺍﻟﻮﺭﺍﺀ‪.‬ﺃﻳﻦ ﻭﺳﺎﺋﻞ ﺍﻹﻋﻼﻡ ﻣﻨﻌﺪﻣﺔ ﻟﺴﻠﹼﻤﻨﺎ ﺑﺄﳘﻴﺔ ﻫﺬﺍ ﺍﻟﻔﻦ ﺍﻟﺸﻌﱯ‪،‬‬
‫ﻭﺩﻭﺭﻩ ﺍﻟﻔﻌ‪‬ﺎﻝ ﺩﺍﺧﻞ ﺍ‪‬ﺘﻤﻊ ﺍﳊﻀﲏ‪.‬‬
‫‪ -2‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﺮﻓﻴﻬﻴﺔ‪:‬‬
‫ﲤﺜﹼﻞ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻭﺳﻴﻠﺔ ﻫﺎﻣﺔ ﻣﻦ ﻭﺳﺎﺋﻞ ﺍﻟﺘﺮﻓﻴﻪ‪ ،‬ﺇﺫ ﺃﻥﹼ ﺃﻭﻗﺎﺕ ﺍﻟﻔﺮﺍﻍ‬
‫ﺍﻟﻄﻮﻳﻠﺔ ﻭﺭ‪‬ﻭﺗﲔ ﺍﳊﻴﺎﺓ ﻟﺪﻯ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﺣﺘ‪‬ﻤﺘﺎ ﻋﻠﻴﻪ ﺍﻟﺘﻮﺟﻪ ﺇﱃ ﻣﺜﻞ ﻫـﺬﺍ ﺍﻟﻔـﻦ‬
‫ﺣﱴ‪ ‬ﳛﻘﹼﻖ ﻣﻦ ﺧﻼﻟﻪ ﺍﳌﺘﻌﺔ ﻭﺍﻟﺮﺍﺣﺔ ﺍﻟﻨﻔﺴﻴﺔ" ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻗﺪ ﺳﺎﳘﺖ ﺑﺪﻭﺭ ﻓﻌﺎﻝ ﰲ ﺇﺳـﻌﺎﺩ‬
‫ﺍﻹﻧﺴﺎﻥ ﻣﻨﺬ ﺃﻗﺪﻡ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﻓﺴﺎﻋﺪﺗﻪ ﻋﻠﻰ ﻗﻀﺎﺀ ﺃﻭﻗﺎﺕ ﺍﻟﻔﺮﺍﻍ ﺍﳌﻤﻠﺔ ﺍﻟﻄﻮﻳﻠـﺔ‪ ،‬ﻓﻘـﺪ ﻛﺎﻧـﺖ‬
‫ﺍﻟﻌﺎﺋﻼﺕ ﲡﻠﺲ ﺳﺎﻋﺎﺕ ﻓﺮﺍﻏﻬﺎ ﻭﻗﺒﻞ ﺍﻟﻨﻮﻡ ﻟﻠﺘﻤﺘﻊ ﰲ ﻧﺸﻮﺓ ﻭﻓﺮﺡ ﻭﺭﻏﺒـﺔ ﻭﺷـﻮﻕ ﻭﺳـﻌﺎﺩﺓ‬
‫ﻭﻃﻤﺄﻧﻴﻨﺔ ﻟﺘﺴﺘﻤﻊ ﺇﱃ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﻤﺘﻌﺔ ﺍﳊﺎﻓﻠﺔ ﺑﺎﻷﺣﺪﺍﺙ ﺍﳌﺜﲑﺓ ﻭﺍﻟﻨ‪‬ـﻮﺍﺩﺭ ﻭﺍﻟﻄﺮﺍﺋـﻖ‬
‫) ‪(2‬‬
‫ﺍﳌﺴﻠﻴﺔ "‪.‬‬
‫ﻟﻘﺪ ﺳﺎﻋﺪﻧﺎ ﻋﻤﻠﻨﺎ ﺍﳌﻴﺪﺍﱐ ﰲ ﺭﺻﺪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻵﺭﺍﺀ ﺍﳌﺨﺘﻠﻔﺔ ﻟﺴﻜﺎﻥ ﺍﳌﻨﻄﻘـﺔ ﺑﻌـﺪ ﺃﻥ‬
‫ﻃﺮﺣﻨﺎ ﻋﻠﻴﻬﻢ ﺍﻹﺷﻜﺎﻟﻴﺔ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺴﺒﺐ ﺍﺳﺘﻤﺎﻋﻬﻢ ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻓﻜﺎﻧﺖ ﺍﻟﺮﺩﻭﺩ ﳐﺘﻠﻔـﺔ‬
‫ﺃﳘﻬﺎ ﻣﺎ ﻗﺎﻟﺘﻪ ﻟﻨﺎ ﺇﺣﺪﻯ ﺍﻟﺴﻴ‪‬ﺪﺍﺕ ﻭﺑﺎﻟﻠﻬﺠﺔ ﺍﶈﻠﻴﺔ ﻟﻠﻤﻨﻄﻘﺔ" ﺑ‪‬ﺎﻩ‪ ‬ﳓﹼّﻴﻮ‪ ‬ﻋ‪‬ﻠﻰ‪ ‬ﺭ‪‬ﻭ‪‬ﺍﺣ‪‬ﻨ‪‬ﺎ "‬
‫ﻓﻬﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺍﶈﻠﻴﺔ ﺗﻘﺎﺑﻠﻬﺎ ﻋﺒﺎﺭﺓ " ﺣﱴ ﻧﺮ‪‬ﻭﺡ ﻋﻦ ﺃﻧﻔﺴﻨﺎ" ﺍﻟﻔﺼﺤﻰ‪ ،‬ﻭﻗﺪ ﺃﻛـﺪﺕ ﻟﻨـﺎ‬
‫ﺳﺒﺐ ﻧﺰﻭﻉ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﺇﱃ ﺍﻻﺳﺘﻤﺎﻉ ﳌﺜﻞ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺇﺫ ﺃ‪‬ﺎ ﺗﻘـﻮﻡ‬
‫ﺑﻮﻇﻴﻔﺔ ﻫﺎﻣﺔ ﺟﺪ‪‬ﺍ ﻣﻦ ﺗﺴﻠﻴﺔ ﻟﻠﺮﺍﻭﻱ ﻭﺍﳌﺴﺘﻤﻊ ﻣﻌ‪‬ﺎ‪ ،‬ﻭﺍﻟﺘﺮﻭﻳﺢ ﻋﻨﻬﻤﺎ‪ ،‬ﻓﻌﻤﻠﻴﺔ ﲨﻌﻨﺎ ﻟﻠﺤﻜﺎﻳـﺎﺕ‬
‫ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻗﺎﺩﺗﻨﺎ ﺇﱃ ﺃﻥ ﺃﻫﻞ ﺍﳌﻨﻄﻘﺔ ﻳﺮﻭ‪‬ﻭﻥ ﺍﳊﻜﺎﻳﺎﺕ ﰲ ﺃﻭﻗﺎﺕ ﻓﺮﺍﻏﻬﻢ ﺑﻌﺪ ﺍﻧﺘﻬﺎﺋﻬﻢ ﻣﻦ ﺍﻟﻌﻤـﻞ‬
‫ﻛﻤﺎ ﳛﻠﻮ ﺍﻟﺴﻤﺮ ﺃﻳﻀﺎ ﰲ ﻟﻴﺎﱄ ﺍﻟﺸﺘﺎﺀ ﺍﻟﺒﺎﺭﺩﺓ ﺍﻟﻄﻮﻳﻠﺔ ﺃﻳﻦ ﺗ‪‬ﺮﻭﻯ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﹸﺴﻠ‪ّ‬ﻴﺔ ﺍﳉﻤﻴﻠﺔ ‪.‬‬

‫)‪ (1‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ ‪،‬ﺹ‪.31‬‬
‫)‪ (2‬ﳏﻤﺪ ﺃﲪﺪ ﺷﻬﺎﺏ‪ :‬ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺩﺍﺭ ﺍﺑﻦ ﺧﻠﺪﻭﻥ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪ ،1980 ،1‬ﺹ‪.23‬‬
‫‪- 111 -‬‬
‫ﻭﻛﺜﲑ‪‬ﺍ ﻣﺎ ﺗﻜﻮﻥ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﺴﻴﻠﻴﺔ ﺗﺪﻭﺭ ﺣﻮﻝ ﻣﻮﺿﻮﻋﺎﺕ ﺍﻟﺒﺨﻞ‪ ،‬ﻭﺍﻟﻔﻘﺮ ﻭﺍﳌﻜﺮ ﻭﺍﳋﺪﺍﻉ‬
‫ﻭﺍﳊﻴﻠﺔ‪ ،‬ﻭﻏﺎﻟﺒﺎ ﻣﺎ ﺗﺆﺩﻳﻬﺎ ﺷﺨﺼﻴﺎﺕ ﻣﻌﺮﻭﻓﺔ ﻛﺸﺨﺼﻴﺔ ﺟﺤﺎ ﻣﺜﻼ ﺍﻟﺬﻱ ﻗﺪﻣﻨﺎ ﻟـﻪ ﳕﻮﺫﺟ‪‬ـﺎ ‪،‬‬
‫ﻛﻤﺎ ﺗ‪‬ﺆﺩﻯ ﻋﻠﻰ ﺃﻟﺴﻨﺔ ﺍﳊﻴﻮﺍﻧﺎﺕ‪ .‬ﻭﺗﻘﺪﻡ ﺑﻘﺎﻟﺐ ﻫﺰﱄ ﻣﻔﺮﺡ‪،‬ﻛﻤﺎ ﻫﻮ ﺍﳊﺎﻝ ﰲ ﺣﻜﺎﻳﺔ ﺍﻟﻘﻨﻔـﻮﺩ‬
‫ﻭﺍﻟﺬﻳﺐ‪،‬ﺍﻟﱵ ﻣﺜﹼﻠﺖ ﳕﻮﺫﺟﺎ ﻟﻠﻤﻜﺮ ﻭﺍﳊﻴﻠﺔ ﺍﳌﺘﻔﺸﻴﲔ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﳌﺴﻴﻠﻲ ﰲ ﺫﻟﻚ ﺍﻟﻮﻗﺖ‪ ،‬ﻓﺎﺧﺘـﺎﺭ‬
‫ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﺍﻟﻠﺠﻮﺀ ﺇﱃ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺸﺨﺼﻴﺎ‪‬ﺎ ﺍﳍﺰﻟﻴـﺔ ﻭﺍﳊﻴﻮﺍﻧﻴـﺔ‪ ،‬ﺑـﺪﻝ‬
‫ﺍﻟﺘﺼﺮﻳﺢ ﺑﺎﻟﺸﺨﺼﻴﺎﺕ ﺍﳊﻘﻴﻘﻴﺔ ﻷﻧﻪ ﻭﺟﺪ ﰲ ﺍﳊﻜﺎﻳﺔ "ﻣﻮﻗﻌﺎ ﺁﻣﻦ ﻳﺴﻤﺢ ﺑﺎﺭﺗﻴـﺎﺩ ﺍﻷﻋﻤـﺎﻕ‬
‫ﻭﻛﺸﻒ ﺍﳌﺴﺘﻮﺭ ﻭﻫﺘﻚ ﺍﻟﺘﻨﻤﻴﻄﺎﺕ ﻭﺍﻟﺜﻮﺍﺑﺖ ﺍﻟﻜﱪﻯ‪ ،‬ﺍﳌﺘﻔﻖ ﻋﻠﻰ ﺭﺳﻮﺧﻬﺎ ﰲ ﻭﺟـﺪﺍﻥ ﺍﻷﻣـﺔ‬
‫ﻭﺗﺎﺭﳜﻬﺎ‪ ،‬ﻭﻟﻌﻠﻨﺎ ﺑﺬﻟﻚ ﻧﺸﺒﻊ ﺣﺎﺟﺔ ﺧﻔﻴﺔ ﺇﱃ ﳑﺎﺭﺳﺔ ﺫﻟﻚ ﺍﳍﺘﻚ‪ ،‬ﻭﻧﺴﺘﻬﻞ ﺍﻟﻘﻴﺎﻡ ﺑﻪ ﰲ ﺍﳊﻜﺎﻳﺔ‬
‫ﻷﻧﻨﺎ ﺇﳕﺎ ﳕﺎﺭﺱ ﺍﳍﺘﻚ ﰲ ﻣﺴﺘﻮﻯ ﺍﻹﻣﻜﺎﻥ ﻓﻘﻂ ﰲ ﺍﳊﻜﺎﻳﺔ ﻭﺣﺪﻫﺎ‪ ،‬ﲤﺎﻣﺎ ﻛﻤﺎ ﻧﻔﻌﻞ ﰲ ﺍﻟﺘﺠﺮﻳﺐ‬
‫) ‪(1‬‬
‫ﺍﻵﻣﻦ ﻋﻠﻰ ﻧﻔﻮﺱ ﺣﻜﺎﺋﻴﺔ ﻻ ﺗﻘﻴﻢ ﰲ ﺍﻟﻌﺎﱂ ﺍﳊﻘﻴﻘﻲ ﺑﻞ ﰲ ﺍﳊﻜﺎﻳﺔ"‬
‫ﻭﻳﻈﻬﺮ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺘﺮﻓﻴﻬﻲ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ ﺍﻟﱵ ﰎﹼ ﺍﺧﺘﻴﺎﺭﻫﺎ‪ ،‬ﻣﻦ ﺧﻼﻝ ﺑﻌﺾ ﺍﻟﺼﻴﻎ ﺍﻟﱵ‬
‫ﺗﺸﺪ‪ ‬ﺍﻟﺴﺎﻣﻊ‪ ،‬ﻭﺗﺜﲑ ﺇﻋﺠﺎﺑﻪ‪ ،‬ﺑﻞ ﻭﺗﺆﺩﻱ ﺇﱃ ﺇﺿﺤﺎﻛﻪ ﻣﺜﻞ ﻟﻔﻈﺔ ﺳﺘ‪‬ﻮﺕ ﰲ ﺍﳊﻜﺎﻳﺘﲔ ﺑﺎﻹﺿـﺎﻓﺔ‬
‫ﺇﱃ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﳌﺴﺠﻮﻋﺔ ﺍﻟﱵ ﺗﺴﺘﻬﻮﻱ ﺍﻷﺫﻥ ﲰﺎﻋﻬﺎ‪ ،‬ﻭﺍﳉﻮﺍﻧﺐ ﺍﻟﻐﺮﻳﺒﺔ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺄﺷﻴﺎﺀ ﻭﻣﻮﺍﺿـﻴﻊ‬
‫ﺧﻴﺎﻟﻴﺔ ﻳﺴﺘﺤﻴﻞ ﲢﻘﻴﻘﻬﺎ ﰲ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫ﻋﻤﻮﻣ‪‬ﺎ ﻓﺈﻥ" ﻧﻮﻉ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﱵ ﺗﺆﺩﻳﻬﺎ ﺍﳊﻜﺎﻳﺔ ﻟﻠﻔﺮﺩ ﻭﺍﳉﻤﺎﻋﺔ‪...‬ﻣﻦ ﺍﶈﺘﻤـﻞ ﺃﻥ ﺗﻜـﻮﻥ‬
‫) ‪(2‬‬
‫ﺍﻟﺘﺴﻠﻴﺔ ﻭﺍﳌﺘﻌﺔ‪....‬ﻭﻫﻮ ﺍﺭﺗﺒﺎﻁ ﻋﺎﻃﻔﻲ ﻳﻈﻞ ﻣﺸﺪﻭﺩ‪‬ﺍ ﺑﲔ ﺍﻟﺮﺍﻭﻱ ﻭﺍﳌﺘﻠﻘﻲ"‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ‪ ,‬ﻓﺈﻥﹼ ﺗﺮﺍﺟﻊ ﻓﻦ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻛﺎﻥ ﺑﻄﺒﻴﻌﺔ ﺍﳊﺎﻝ ﺳﺒﺒﺎ‬
‫ﰲ ﺗﺮﺍﺟﻊ ﻭﻇﺎﺋﻔﻬﺎ‪ ،‬ﻋﺪﺍ ﺑﻌﺾ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﻨﺘﺸﺮﺓ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‪ ،‬ﻭﺍﻟﱵ ﻳﺘﻢ ﺗﺪﺍﻭﳍﺎ ﰲ ﻗﺮﻯ ﺍﳌﻨﻄﻘـﺔ‬
‫ﺍﶈﺎﻓﻈﺔ ﻟﺘﻜﻮﻥ ﺑﺎﻋﺜﺎ ﻋﻠﻰ ﺍﳌﺘ‪‬ﻌﺔ ﻭﺍﻟﺘ‪‬ﺴﻠﻴﺔ ﻻ ﻏﲑ‪.‬‬

‫)‪ (1‬ﺻﺒﺤﻲ ﺣﺪﻳﺪﻱ‪ :‬ﳎﻤﻊ ﺍﻷﺳﺮﺍﺭ‪ ،‬ﺟﺪﻝ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﳎﻠﺔ ﺍﻟﻄﺮﻳﻖ‪،‬ﺹ‪.131‬‬
‫)‪ (2‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.134‬‬
‫‪- 112 -‬‬
 ‫‪ -3‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﻨﻔﺴﻴﺔ ‪:‬‬
‫ﺣﻀﻴﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺎﻫﺘﻤﺎﻣﺎﺕ ﺍﻟﺒﺎﺣﺜﲔ ﻭﺍﻟﺪ‪‬ﺍﺭﺳﲔ ﻣﻦ ﳐﺘﻠﻒ ﺍﻻﲡﺎﻫﺎﺕ ﻭﺍﳌﺬﺍﻫﺐ‬
‫ﻭﻋﻠﻰ ﺭﺃﺳﻬﻢ ﺍﻻﲡﺎﻩ ﺍﻟﻨﻔﺴﺎﱐ‪ ،‬ﺣﻴﺚ ﻳﺬﻫﺐ ﻓﺮﻭﻳﺪ ﻭﺃﻧﺼﺎﺭﻩ ﺇﱃ ﺗﻔﺴﲑ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ‬
‫ﺃﻧ‪‬ﻬﺎ "ﺗﻌﺒﲑ ﻋﻦ ﺃﺣﻼﻡ ﺍﻟﺮﻏﺒﺎﺕ ﺍﳌﻜﺒﻮﺗﺔ ﺇﺫ ﰲ ﺍﻋﺘﻘﺎﺩﻫﻢ ﺃﻥ ﺍﻷﺣﻼﻡ ﻛﺎﻧﺖ ﺃﺻﻼ ﰲ ﻧﺸﺄﺓ ﻛـﺜﲑ‬
‫ﻣﻦ ﺍﻷﺣﺪﺍﺙ ﺃﻭ ﺍﻟﻮﻗﺎﺋﻊ ﺍﻟﱵ ﳒﺪﻫﺎ ﺍﻵﻥ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ")‪.(1‬‬
‫ﺇﻥﹼ ﻫﺬﺍ ﺍﻟﺘ‪‬ﻌﺮﻳﻒ ﻳ‪‬ﺤﻴﻠﻨﺎ ﺇﱃ ﺟﺎﻧﺐ ﺁﺧﺮ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺟﺪ‪ ‬ﻫﺎﻡ ﻣـﺮﺗﺒﻂ ﺑﺎﻟﻮﻇﻴﻔـﺔ‬
‫ﺍﻟﻨﻔﺴﻴﺔ ﺍﻟﱵ ﺗﺆﺩﻳﻬﺎ ﰲ ﺍﳌﻨﻄﻘﺔ‪.‬‬
‫ﻓﻘﺪ ﻣﺜﹼﻠﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻟﻺﻧﺴﺎﻥ ﺍﳌﺴﻴﻠﻲ ﺍﳌﺘﻨﻔﺲ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﻬﺮﺏ ﺇﻟﻴﻪ‬
‫ﻟﻴﺨﻠﻖ ﻓﻴﻪ ﻟﻨﻔﺴﻪ ﻋﺎﳌﹰﺎ ﻣﺜﺎﻟﻴ‪‬ﺎ‪،‬ﺧﺎﻟﻴ‪‬ﺎ ﻣﻦ ﻛﻞ ﺍﻟﻌﻮﺍﺋﻖ ﺍﻟﱵ ﲢﺪﻩ ﻣﻦ ﲢﻘﻴﻖ ﺫﺍﺗﻪ‪،‬ﻷﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﺗﺴﻌﻰ ﺩﻭﻣﺎ ﺇﱃ " ﺗﻠﺒﻴﺔ ﺍﳊﺎﺟﺎﺕ ﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﺒﻴﻮﻟﻮﺟﻴﺔ ﻟﻠﻔﺮﺩ‪ ،‬ﻭﺗﻨﻤﻴﺔ ﺳﻴﻜﻮﻟﻮﺟﻴﺘﻪ‪ ،‬ﻭﺍﻟﺘﻨﻔﻴﺲ ﻋﻦ‬
‫ﻣﻜﺒﻮﺗﺎﺗﻪ ﺍﳉﻨﺴﻴﺔ‪ ،‬ﻭﲢﻘﻴﻖ ﺭﻏﺒﺎﺗﻪ ﺍﻟﱵ ﻻ ﻳﺘﻤﻜﻦ ﻣﻦ ﳑﺎﺭﺳﺘﻬﺎ ﰲ ﺍﻟﻮﺍﻗﻊ ﻧﻈﺮ‪‬ﺍ ﻟﻜﻮ‪‬ﺎ ﺗﺘﻌﺎﺭﺽ ﻣﻊ‬
‫ﻗﻴﻢ ﳎﺘﻤﻌﻪ‪ ،‬ﺃﻭ ﺃ‪‬ﺎ ﲣﺮﺝ ﻋﻦ ﻧﻄﺎﻕ ﺣﺪﻭﺩ ﻗﺪﺭﺗﻪ ﺍﻟﺬﺍﺗﻴﺔ ﺍﶈﺪﻭﺩﺓ ﺑﻄﺒﻴﻌﺔ ﺍﻟﺒﺸـﺮﻳﺔ‪ ،‬ﻭﺑﺎﻟﺰﻣـﺎﻥ‬
‫)‪(2‬‬
‫ﻭﺍﳌﻜﺎﻥ‪،‬ﻭﻛﺬﻟﻚ ﲢﻘﻴﻘﺎ ﳌﻴﻮﻟﻪ ﻭﻧﺰﻋﺎﺗﻪ ﰲ ﲢﻘﻴﻖ ﺍﳋﲑ ﺍﳌﻄﻠﻖ"‬
‫ﺇﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﺗﺰﺧﺮ ﺑﺎﳋﻴﺎﻝ ﺍﻟﻮﺍﺳﻊ ﺫﻱ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﺘﻨﻮﻋﺔ ﺍﻟـﱵ‬
‫ﺃﺑﺪﻋﻬﺎ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ‪ ،‬ﻭﺃﺳﻨﺪ ﺇﻟﻴﻬﺎ ﺃﺩﻭﺍﺭﺍ ﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﻧﺎﺑﻌﺔ ﻋﻦ ﺭﻏﺒﺎﺕ ﻣﻜﺒﻮﺗﺔ ﻭﺣﺎﺟﺎﺕ‬
‫ﺩﻓﻴﻨﺔ‪ ،‬ﺇﺫ ﻻﺣﻈﻨﺎ ﺃﺛﻨﺎﺀ ﲨﻌﻨﺎ ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ‪ ،‬ﺗﻠﻚ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﱵ ﺗﺮﺗﺴﻢ‬
‫ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﺮﺍﻭﻱ‪ ،‬ﻭﺍﻟﱵ ﺗﻌﺒ‪‬ﺮ ﻋﻦ ﺃﺣﻼﻡ ﻭﺭﻏﺒﺎﺕ ﻋﺠﺰ ﻋﻦ ﲢﻘﻴﻘﻬﺎ ﰲ ﺍﻟﻮﺍﻗﻊ ﻛﺘﻠﻚ ﺍﻟﺼـﻮﺭﺓ‬
‫ﺍﻟﱵ ﻳﺮﲰﻬﺎ ﻟﻠﻔﺘﺎﺓ ﺍﻟﱵ ﻳﺘﻤﻨﺎﻫﺎ ﻭﺍﻟﱵ ﺗﺴﻴﻄﺮ ﻋﻠﻰ ﻛﻞ ﺃﺣﻼﻣﻪ‪ ،‬ﻓﻨﻈﺮ‪‬ﺍ ﳋﺼﻮﺻﻴﺔ ﺍﳌﻨﻄﻘﺔ‪،‬ﻭﻃﺒﻴﻌﺘﻬﺎ‬
‫ﺍﶈﺎﻓﻈﺔ ﻳﻌﺠﺰ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﻋﻦ ﺍﻟﺒﻮﺡ ﲟﺜﻞ ﻫﺬﻩ ﺍﻷﻣﻮﺭ‪ ،‬ﻓﻴﺘﺠﻪ ﺇﱃ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸـﻌﺒﻴﺔ‪،‬‬
‫ﻭﻳﺮﲰﻬﺎ ‪ ،‬ﻓﺘﻜﻮﻥ ﺫﺍﺕ ﻗﺎﻣﺔ ﻃﻮﻳﻠﺔ ﻭﺷﻌﺮ ﺃﺳﻮﺩ ﻭﻋﻴﻮﻥ ﻭﺍﺳﻌﺔ‪...‬ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻟﺼـﻔﺎﺕ ﺍﻟـﱵ‬
‫ﻳﺘﻤﻨﺎﻫﺎ‪ ،‬ﰲ ﻓﺘﺎﺗﻪ‪ ،‬ﻭﻏﺎﻟﺒﺎ ﻣﺎ ﻳﺴﻨﺪ ﺇﻟﻴﻬﺎ ﺩﻭﺭ ﺍﻟﺒﻄﻮﻟﺔ ﻛﻤﺎ ﰲ ﺣﻜﺎﻳﺎﺕ ﺍﳉﺎﺯﻳﺔ ﻭﻟﻮﳒـﺔ ﻭﺍﻟﻔﺘـﺎﺓ‬
‫ﺍﻟﻴﺘﻴﻤﺔ ﰲ ﺑﻘﺮﺓ ﻟﻴﺘﺎﻣﻰ ‪.‬‬

‫)‪ (1‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺹ‪.134‬‬
‫)‪ (2‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪ ،‬ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ‪،‬ﺹ‪.55‬‬
‫‪- 113 -‬‬
‫ﻛﻤﺎ ﻳﺮﺳﻢ ﳍﺎ ﺍﻟﻨﻬﺎﻳﺔ ﺍﻟﺴﻌﻴﺪﺓ ﻭﺍﻟﱵ ﺗﻜﻮﻥ ﻏﺎﻟﺒﺎ ﻣﺮﺗﺒﻄﺔ ﺑﺎﻟﺰﻭﺍﺝ ﻣﻦ ﺍﻟﺒﻄﻞ ﻭﺍﻟﻌﻴﺶ ﻣﻌﻪ ﺃﻭ‬
‫ﺍﻻﺭﺗﻘﺎﺀ ﺇﱃ ﺍﻷﺣﺴﻦ ‪.‬‬
‫ﻭﻳﻌﺘﱪ ﺍﻟﻔﻘﺮ ﻣﻦ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﺍﻷﻛﺜﺮ ﺷﻴﻮﻋﺎ ﰲ ﺍﳌﻨﻄﻘﺔ‪،‬ﻭﺍﻟﱵ ﻋﺎﻥ ﻣﻨﻬﺎ ﺍﻹﻧﺴـﺎﻥ‬
‫ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﻭﲡﺮ‪‬ﻉ ﻭﻳﻼ‪‬ﺎ‪ ،‬ﺑﻞ ﻭﺳﻌ‪‬ﻰ ﺇﱃ ﺗﻐﻴﲑ ﺍﻟﻮﺿﻊ ﺇﱃ ﺍﻷﺣﺴﻦ‪ ،‬ﻭﻟﻜﻨﻪ ﱂ ﻳﺴﺘﻄﻊ ﻓﺎﲡﻪ‬
‫ﺇﱃ ﻋﺎﱂ ﺁﺧﺮ ﻫﻮ ﻋﺎﱂ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﺃﺧﺬ ﻳﻌﺒ‪‬ﺮ ﻋﻦ ﺃﺣﻼﻣﻪ ﻭﺭﻏﺒﺎﺗﻪ ﺍﳌﻜﺒﻮﺗﺔ ﺃﻳﻀﺎ‪ ،‬ﻭﻳﺮﺳـﻢ‬
‫ﻟﻨﻔﺴﻪ ﺻﻮﺭﺓ ﺍﻟﺒﻴﺖ ﺍﻟﺬﻱ ﻳﺸﺘﻬﻴﻪ ﻣﻦ ﺧﻼﻟﻪ ﺗﻮﻓﺮﻩ ﻋﻠﻰ ﻋﺼﺎ ﺳﺤﺮﻳﺔ ﺃﻭ ﻓﺎﻧﻮﺱ ﺳﺤﺮﻱ ﳛﻘﹼﻖ ﻟﻪ‬
‫ﻛﻞ ﻣﺎ ﻳﺘﻤﻨﺎﻩ‪ ،‬ﻣﻦ ﻗﺼﺮ ﻓﺎﺧﺮ‪ ،‬ﻭﺧﺪﻡ ﻭﺣﺸﻢ‪ ،‬ﻭﻣﺄﻛﻮﻻﺕ ﻣﺘﻨﻮﻋﺔ ﻭﺣﻴﻮﺍﻧﺎﺕ ﳐﺘﻠﻔﺔ ﻣﻦ ﺃﺑﻘـﺎﺭ‬
‫ﻭﺃﺣﺼﻨﺔ‪....‬ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻛﻤﺎ ﺃﻥ ﺣﻨﲔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ﺇﱃ ﺃﻳﺎﻡ ﺍﻟﺸﺒﺎﺏ‪ ،‬ﻭﺭﻏﺒﺘﻪ ﰲ ﻋﻮﺩ‪‬ﺎ ﻳﺪﻓﻌـﻪ ﺇﱃ‬
‫ﺍﻟﻠﺠﻮﺀ ﺇﱃ ﻋﺎﱂ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﲢﻘﻴﻖ ﺭﻏﺒﺘﻪ ﰲ ﺫﻟﻚ ﺍﻟﻌﺎﱂ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥ ﺍﻷﻃﻔﺎﻝ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ﻫﻢ ﺍﻟﻔﺌﺔ ﺍﻷﻛﺜﺮ ﺇﻗﺒﺎﻻ ﻋﻠﻰ ﺍﻻﺳﺘﻤﺎﻉ‬
‫ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﳋﺮﺍﻓﻴﺔ ﺳﺎﺑﻘﺎ‪ ،‬ﺣﻴﺚ ﻳﻔﺴ‪‬ﺮ ﺍﻟﺒﺎﺣﺜﻮﻥ ﺍﻟﻨﻔﺴﺎﻧﻴﻮﻥ ﺳﺮ ﻫﺬﺍ ﺍﻹﻗﺒﺎﻝ ﳌﺎ ﳚﺪ‪‬ﻩ ﻓﻴﻬﺎ ﻫﺆﻻﺀ‬
‫ﺍﻷﻃﻔﺎﻝ ﻣﻦ" ﺗﻌﺒﲑ ﺭﻣﺰﻱ ﻋﻦ ﻃﺮﻳﻖ ﺍﻷﻓﻌﺎﻝ ﻭﺍﳌﻮﺍﻗﻒ ﻭﺍﳌﺸﺎﻫﺪ ﻭﺍﻟﺼﻮﺭ ﻋﻤ‪‬ـﺎ ﻳﻌﺎﻧﻮﻧـﻪ ﻣـﻦ‬
‫ﲢﻮ‪‬ﻻﺕ ﻭﺻﺮﺍﻋﺎﺕ ﺫﺍﺕ ﻃﺒﻴﻌﺔ ﻧﻔﺴﻴﺔ‪ ،‬ﺳﻮﺍﺀ ﻣﻨﻬﺎ ﻣﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﳉﺎﻧﺐ ﺍﻟﻔﺮﺩﻱ‪ ،‬ﺍﳌﻮﺿﻮﻉ ﺍﻷﺛـﲑ‬
‫ﻟﻌﻠﻢ ﺍﻟﻨﻔﺲ ﺍﻟﻔﺮﻭﻳﺪﻱ‪ ،‬ﺃﻭ ﻣﺎﻟﻪ ﻋﻼﻗﺔ ﺑﺎﻷﳕﺎﻁ ﺍﻷﺻﻠﻴﺔ ﺍﳌﻮﺭﻭﺛﺔ ﻋﻦ ﺍﻟﻄﻔﻮﻟﺔ ﺍﻟﺒﺸﺮﻳﺔ ﻭﺍﳌﺨﺘﺰﻧﺔ ﰲ‬
‫) ‪(1‬‬
‫ﺍﻟﻼﻭﻋﻲ ﺍﳉﻤﻌﻲ‪ ،‬ﺍﳌﻮﺿﻮﻉ ﺍﳌﻔﻀﻞ ﻟﻌﻠﻢ ﺍﻟﻨﻔﺲ ﺍﻟﻴﻮﻧﻐﻲ"‬
‫ﺇﻥﹼ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﻨﻔﺴﻴﺔ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﻭﻇﻴﻔﺔ ﻋﻼﺟﻴـﺔ‬
‫ﳊﺎﻟﺔ ﺇﻧﺴﺎﻥ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﰲ ﳐﺘﻠﻒ ﻣﺮﺍﺣﻞ ﻋﻤﺮﻩ‪ ،‬ﻭﻫﻲ ﻣﺮﺗﺒﻄﺔ ﺃﺳﺎﺳ‪‬ﺎ ﺑﺮﻏﺒﺎﺗﻪ ﻭﻣﻴﻮﻟـﻪ ﻭﺃﺣﻼﻣـﻪ‬
‫ﻭﻃﺮﻳﻘﺔ ﺇﺷﺒﺎﻋﻬﺎ" ﺇﺫ ﻟﻠﻘﺼﺔ ﻭﻇﻴﻔﺔ ﻋﻼﺟﻴﺔ ﺗﺮﺑﻮﻳﺔ ﻭﻫﻲ ﻭﺳﻴﻠﺔ ﻟﺘﺤﺪﻳﺪ ﻧﺸﺎﻁ ﻭﺟﻮﺩﻧـﺎ ﺍﻟـﺬﻱ‬
‫ﺗﻜﻤﻦ ﺃﳘﻴﺘﻪ ﰲ ﺍﻟﻔﻌﺎﻟﻴﺔ ﻭﺍﳋﻴﺎﻝ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻧﻌﻢ ﻓﺎﻟﻮﻇﻴﻔﺔ ﺍﻟﻌﻼﺟﻴﺔ ﻟﻠﻘﺼﺔ ﻭﺍﺿﺤﺔ ﻭﺿﻮﺡ‬
‫ﺍﻟﺸﻤﺲ ﻷﻧ‪‬ﻬﺎ ﺗﻌﺘﱪ ﻋﻤﻠﻴﺔ ﲤﺜﻴﻞ ﰲ ﺍ‪‬ﺘﻤﻊ ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﺍﻟﻈﺮﻭﻑ‪ ،‬ﻷ‪‬ﺎ ‪‬ﺪ‪‬ﺉ ﻭﺗﺼﻔﻲ ﺍﻟﻨﻔـﻮﺱ‪،‬‬
‫ﻭﺑﺬﻟﻚ ﻧﺘﻤﻜﻦ ﻣﻦ ﺇﺷﺒﺎﻉ ﺍﻟﺮﻏﺒﺎﺕ ﺍﳌﻜﺒﻮﺗﺔ " )‪.(2‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﺒﻄﻞ ﺍﳌﻠﺤﻤﻲ ﻭﺍﻟﺒﻄﻠﺔ ﺍﻟﻀﺤﻴﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻔﻮﻱ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.109‬‬
‫)‪ (2‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺹ‪.83‬‬
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‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻗﺪ ﺃﺩ‪‬ﺕ ﺩﻭﺭ‪‬ﺍ ﻣﻬﻤ‪‬ﺎ ﰲ ﺍﻟﺘ‪‬ﺮﻭﻳﺢ ﻋﻦ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ‬
‫ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﻛﻤﺎ ﻛﺎﻧﺖ ﺩﺍﻓﻌﺔ ﻟﻠﺸﻌﻮﺭ ﺑﺎﳌﻠﻞ‪ ،‬ﺧﺎﺻﺔ ﰲ ﺃﻭﻗﺎﺕ ﺍﻟﻔﺮﺍﻍ‪ ،‬ﻟﺬﻟﻚ ﳒﺪ ﺍﻹﻧﺴـﺎﻥ‬
‫ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ ﻳﻠﺠﺄ ﺇﻟﻴﻬﺎ‪ ،‬ﻷﻧ‪‬ﻪ ﳚﺪ ﻓﻴﻬﺎ ﻣﻮﻃﻨﺎ ﻟﻠﻤﺘﻌﺔ ﻭﺍﻟﺮﺍﺣﺔ ﺍﻟﻨﻔﺴﻴﺔ ﺍﳌﻄﻠﻘﺔ ‪.‬‬
‫‪ -4‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘ‪‬ﺜﻘﻴﻔﻴﺔ ‪:‬‬
‫ﻳﺮﺗﺒﻂ ﻭﺟﻮﺩ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪ ،‬ﺑﻮﺟﻮﺩ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻓﻴﻬﺎ‪ ،‬ﻭﺍﻧﺘﺸﺎﺭﻫﺎ ﰲ‬
‫ﺃﻭﺳﺎﻃﻬﺎ‪.‬‬
‫ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﺴﺎﻫﻢ ﰲ ﺗﺜﻘﻴﻒ ﺍﻟﻔﺮﺩ ﺍﳌﺴﻴﻠﻲ‪ ،‬ﺑﺸﱴ ﺍﻟﻄﺮﻕ ﻭﺍﻟﻮﺳﺎﺋﻞ‪ ،‬ﻷ‪‬ﺎ ﲢﻤﻞ ﺇﻟﻴﻪ‬
‫ﺣﻀﺎﺭﺓ ﺍﻟﺴﺎﺑﻘﲔ ﻭﺛﻘﺎﻓﺘﻬﻢ ﺳﻮﺍﺀ ﺍﳌﺎﺩﻳﺔ ﺍﳌﺘﻤﺜﻠﺔ ﰲ ﺍﳌﻠﺒﺲ ﻭﺍﳌﺄﻛﻞ ﻭﺑﻌﺾ ﺍﻷﻋﻤـﺎﻝ ﺍﳌﻤﺎﺭﺳـﺔ‬
‫ﺁﻧﺬﺍﻙ‪ ،‬ﺃﻭ ﺍﳌﻌﻨﻮﻳﺔ ﻛﺎﳌﻌﺘﻘﺪﺍﺕ ﻭﺍﻟﻌﺎﺩﺍﺕ‪ ،‬ﻟﺬﻟﻚ ﳒﺪ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﲤﺜﹼﻞ ﻣﺼﺪﺭ‪‬ﺍ ﺛﻘﺎﻓﻴﺎ ﻷﻫـﻞ‬
‫ﺍﳌﻨﻄﻘﺔ ﻳﻌ‪‬ﺞ ﺑﺎﻟﻘﻮﺍﻋﺪ ﺍﻷﺧﻼﻗﻴﺔ ﻭﺍﻟﻘﻴﻢ ﺍﳌﺜﻠﻰ ﺍﻟﱵ ﺗﻨﲑ ﳍﻢ ﻃﺮﻳﻘﻬﻢ ﺇﻥ ﺗﺒﻨ‪‬ﻮ‪‬ﻫﺎ‪.‬‬
‫ﺇﻥﹼ ﺍﻟﻨﻤﺎﺫﺝ ﺍﳊﻜﺎﺋﻴﺔ ﺍﻟﱵ ﻭﻗﻊ ﻋﻠﻴﻬﺎ ﺍﺧﺘﻴﺎﺭﻧﺎ ﻟﺪﺭﺍﺳﺘﻬﺎ‪ ،‬ﲢﻤﻞ ﺟﻮﺍﻧﺐ ﻣﺘﻌﺪﺩﺓ ﻟﺜﻘﺎﻓﺔ ﺃﻫﻞ‬
‫ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻓﺠﺎﻧﺐ ﺍﻟﺜﻘﺎﻓﺔ ﺍﳌﺎﺩﻳﺔ ﳝﺜﹼﻠﻪ ﺍﻟﻠﺒﺎﺱ ﻣﺜﻼ ﻛﺎﻟﱪﻧﻮﺱ ﺍﳌﺬﻛﻮﺭ ﰲ ﺣﻜﺎﻳﱵ ﺑﻘﺮﺓ ﻟﻴﺘـﺎﻣﻰ‪ ،‬ﻭ‬
‫ﴰﺴﻪ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‪ ،‬ﺇﺫ ﻧﻔﻬﻢ ﻣﻦ ﺧﻼﳍﻤﺎ ﺃﻥ ﺍﻟﺮﺟﻞ ﰲ ﺍﳌﻨﻄﻘﺔ ﻣﻌﺮﻭﻑ ﺑﺎﺭﺗﺪﺍﺋﻪ ﺍﻟﱪﻧﻮﺱ ﺍﻟـﺬﻱ‬
‫ﻳﺼﻨﻊ ﻣﻦ ﺍﻟﺼﻮﻑ‪.‬‬
‫ﻛﻤﺎ ﺫﻛﺮﺕ ﺍﳊﻜﺎﻳﺎﺕ ﺑﻌﺾ ﺍﻟﻌﺎﺩﺍﺕ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﺍﳌﺘﻤﺜﹼﻠﺔ ﰲ ﻭﺳﻴﻠﺔ ﺍﳊﺼﻮﻝ ﻋﻠـﻰ ﺍﻟـﺪﻗﻴﻖ‬
‫ﻭﻫﻲ ﺍﳌﻄﺤﻨﺔ ﺍﳊﺠﺮﻳﺔ ﺃﻭ ﺍﻟﺮﺣﻰ‪ ،‬ﻭﺍﻟﱵ ﻻ ﺗﺰﺍﻝ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺬﺍ ﺗﺴﺘﻌﻤﻞ ﰲ ﺭﺣﻲ ﺍﻟﻘﻤﺢ ﻭﺍﻟﺸﻌﲑ‬
‫ﻛﻤﺎ ﺗﻌﻜﺲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺟﺎﻧﺒﺎ ﻣﻦ ﺍﻷﻛﻼﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﻨﺘﺸﺮﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ﺳﺎﺑﻘﺎ ﻛﺎﻟﻘﻠﻴﺔ ﰲ‬
‫ﺣﻜﺎﻳﺔ ﺑﻘﺮﺓ ﻟﻴﺘﺎﻣﻰ‪،‬ﻭﺍﻟﻜﺴﻜﺲ‪ ،‬ﻭﺍﳋﱪ ﺍﻟﻌﺮﰊ ﺍﻟﺬﻱ ﻳﻌﺮﻑ ﰲ ﺍﳌﻨﻄﻘﺔ ﺑﺎﻟﻜﺴﺮﺓ ﻭﻫﻲ ﲨﻴﻌﻬـﺎ‬
‫ﺃﻛﻼﺕ ﺷﻌﺒﻴﺔ ﻣﺸﻬﻮﺭﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ‪.‬‬
‫ﻛﻤﺎ ﺗﺮﺳﻢ ﻟﻨﺎ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﺨﺘﺎﺭﺓ ﺻﻮﺭ‪‬ﺍ ﻟﺒﻌﺾ ﺍﳌﻤﺎﺭﺳﺎﺕ ﻭﺍﻷﺷﻐﺎﻝ ﺍﻟﻴﺪﻭﻳﺔ ﰲ ﻣﻨﻄﻘـﺔ‬
‫ﺍﳌﺴﻴﻠﻴﺔ ﻛﺼﻨﺎﻋﺔ ﺍﻟﺼﻮﻑ ﻭﺭﻋﻲ ﺍﻟﻐﻨﻢ ﻭﺍﻟﺒﻘﺮ‪ ،‬ﻭﲢﻀﲑ ﺍﻷﻃﻌﻤﺔ‪ ،‬ﻭﺟﻠﺐ ﺍﳊﻄﺐ ﻭ ﻏﲑﻫﺎ ﻣـﻦ‬
‫ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﱵ ﺗﻌﻜﺲ ﺍﳊﻴﺎﺓ ﺍﳊﻘﻴﻘﺔ ﻷﻫﻞ ﺍﳌﻨﻄﻘﺔ ﺍﶈﺎﻓﻈﲔ‪ ،‬ﺍﻟﺬﻳﻦ ﻳﺮﻓﻀﻮﻥ ﺍﺧﺘﻼﻁ ﻧﺴـﺎﺋﻬﻢ‬
‫ﺑﺎﻟﺮﺟﺎﻝ ﺍﻷﺟﺎﻧﺐ ﻭﻫﻮ ﻣﺎ ﺗﻌﻜﺴﻪ ﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ ﰲ ﻣﻮﺿﻊ ﺣـﺪﻳﺜﻬﺎ ﻣـﻊ ﺍﻟﺼـﻴﺎﺩ‬

‫‪- 115 -‬‬

‫ﺍﻟﻔﺎﺭﺱ‪ ،‬ﻣﻦ ﻭﺭﺍﺀ ﺣﺠﺎﺏ‪ ،‬ﻭﻫﺬﺍ ﻳﺪﻝﹼ ﻋﻠﻰ ﺃﺻﺎﻟﺔ ﺍﳌﺮﺃﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ﺍﻟﱵ ﺗ‪‬ﺮﰉ‪ ‬ﻋﻠﻰ ﻣـﺎ ﻳﺴـﻤﻰ‬
‫ﺑﺎﳊﺠﺒﺔ)*(‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﺍﺭﺗﺒﻄﺖ ﺑﺎﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﻟﺘﺆﺩﻱ" ﻭﻇﻴﻔـﺔ‬
‫ﺍﻟﺘﺜﻘﻴﻒ ﻟﻠﻔﺮﺩ ﻭﺍﳉﻤﻬﻮﺭ ﻷﻥ ﺍﳊﻜﺎﻳﺔ ﺗﺮﺗﺒﻂ ﺑﺎﻟﻘﻴﻢ ﺍﳌﻌﻨﻮﻳﺔ ﻟﻠﺤﻀﺎﺭﺓ‪ ،‬ﻭﺗـﺮﺗﺒﻂ ﺑﺎﻟﺘﺼـﻮﺭﺍﺕ‬
‫) ‪(1‬‬
‫ﻭﺍﳌﻌﺘﻘﺪﺍﺕ"‬
‫ﻋﻤﻮﻣﺎ ﻓﺈﻥ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﱵ ﺫﻛﺮﻧﺎﻫﺎ ﲨﻴﻌ‪‬ﺎ‪ ،‬ﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﻣﺘﺪﺍﺧﻠﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ ،‬ﻷﻥﹼ ﺍﻟﻘﺼـﺔ‬
‫ﺍﻟﻮﺍﺣﺪﺓ ﻗﺪ ﺗﺆﺩﻱ ﻭﻇﻴﻔﺔ ﻧﻔﺴﻴﺔ ﻟﺪﻯ ﲨﺎﻋﺔ ﰲ ﺣﲔ ﺗﺆﺩﻱ ﺩﻭﺭ‪‬ﺍ ﺗﻌﻠﻴﻤﻴﺎ ﺗﺮﺑﻮﻳﺎ ﻟـﺪﻯ ﲨﺎﻋـﺔ‬
‫ﺃﺧﺮﻯ‪ ،‬ﻭﻗﺪ ﺗﻜﻮﻥ ﺑﺎﻋﺜﺎ ﻋﻠﻰ ﺍﻟﺘﺴﻠﻴﺔ ﻭﺍﳌﺘﻌﺔ ﻟﺪﻯ ﲨﺎﻋﺔ ﺛﺎﻟﺜﺔ‪ ،‬ﻭﻗﺪ ﺗﺆﺩﻱ ﲨﻴﻊ ﺍﻟﻮﻇـﺎﺋﻒ ﰲ‬
‫ﳊﻈﺔ ﻭﺍﺣﺪﺓ ﻟﺪﻯ ﲨﺎﻋﺔ ﺭﺍﺑﻌﺔ‪ ،‬ﻭﻫﺬﺍ ﺇﻥ ﺩﻝﹼ ﻋﻠﻰ ﺷﻲﺀ ﻓﺈﻧ‪‬ﻤﺎ ﻳﺪﻝ ﻋﻠﻰ ﺍﻷﺑﻌﺎﺩ ﺍﳋﻔﻴﺔ ﻟﻠﺤﻜﺎﻳﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ‪.‬‬

‫)*( ﺍﳊﺠﺒﺔ ‪ :‬ﺍﻟﺴ‪‬ﺘﺮﺓ ﻓﺎﳌﺮﺃﺓ ﰲ ﺍﳌﻨﻄﻘﺔ ﺗﺘﺴﺘ‪‬ﺮ ﻭﻻ ﺗﺒﺪﻱ ﻧﻔﺴﻬﺎ ﻟﻠﻐﺮﻳﺐ‪ ،‬ﳋﺼﻮﺻﻴﺔ ﺍﳌﻨﻄﻘﺔ ﻭﻋﺎﺩﺍ‪‬ﺎ ﻭﺗﻘﺎﻟﻴﺪﻫﺎ ﺍﶈﺎﻓﻈﺔ‪،‬ﻭﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﻳﺘﻢ‪‬‬
‫ﺍﺧﺘﻴﺎﺭﻫﺎ ﻟﻠﺰﻭﺍﺝ ‪.‬‬
‫)‪ (1‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪،‬ﺹ‪.39‬‬
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 ‫اﻟﻔﺻل اﻟﺛﺎﻟث‬
‫اﻟﺟﺎﻧب اﻟﺗطﺑﯾﻘﻲ‬
‫ﻟﻠﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‬
‫ﻣدﺧـل‪:‬‬
‫أوﻻ‪ -‬اﻟﺟﺎﻧب اﻟﻔﻧﻲ ﻟﻠﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‪.‬‬
‫ﺛﺎﻧﯾﺎ‪ -‬اﻟﺷﺧﺻﯾﺔ ﻓﻲ اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ ‪.‬‬
‫ﺛﺎﻟﺛﺎ‪-‬اﻟزﻣن ﻓﻲ اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ ‪.‬‬
‫راﺑﻌﺎ‪ -‬اﻟﻣﻛﺎن ﻓﻲ اﻟﺣﻛﺎﯾﺔ اﻟﺷﻌﺑﯾﺔ‪.‬‬

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 ‫ﻣﺪﺧـﻞ‪:‬‬
‫ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻴﻜﻞ ﻓﲏ‪ ‬ﻣﺘﻜﺎﻣﻞ ﺍﻷﺟﺰﺍﺀ‪ ،‬ﺗﺘﺄﻟﻒ ﻣﻦ ﳎﻤﻮﻋﺔ ﻭﺳﺎﺋﻞ ﻓﻨﻴﺔ ﻭﲨﺎﻟﻴـﺔ‪،‬‬
‫ﳑﻴﺰﺓ ﺟﻌﻠﺘﻬﺎ ﺗﻨﻔﺮﺩ ﻋﻦ ﺳﺎﺋﺮ ﻓﻨﻮﻥ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﻟﻜﻦ ﺭﻏﻢ ﺍﻟﺘﻤﻴ‪‬ﺰ ﺍﻟﻔﲏ ﺍﻟﺬﻱ ﺳﺎﺭﺕ ﺑﻪ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺇﻻﹼ ﺃﻥ ﳏﺎﻭﻟﺔ ﺿﺒﻂ ﻣﻔﻬﻮﻡ ﳍـﺎ‬
‫ﻓﻴﻪ ﻧﻮﻉ ﻣﻦ ﺍﻟﺼﻌﻮﺑﺔ ﺗﺮﺟﻌﻪ ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ)‪ (1‬ﺇﱃ ﻛﻮ‪‬ﺎ ﻻ ﲢﻤﻞ ﺷﻜﻼ ﻓﻨﻴﺎ ﳏﺪﺩﺍ‪ ،‬ﺑـﻞ ﳜﺘﻠـﻒ‬
‫ﺷﻜﻠﻬﺎ ﻣﻦ ﺣﻜﺎﻳﺔ ﻷﺧﺮﻯ ﺧﻼﻑ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪.‬‬
‫ﻟﻘﺪ ﺃﺷﺮﻧﺎ ﺳﺎﻟﻔﺎ ﺃﻥﹼ ﳒﺎﺡ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﺮﺗﺒﻂ ﺑﻨﺺ ﺍﳊﻜﺎﻳﺔ ﻭﻓﻜﺮﺗﻪ ﺃﻭﻻ‪ ،‬ﻭﲝﺎﻛﻴﻬـﺎ‬
‫ﺛﺎﻧﻴﺎ‪ ،‬ﺇﺫ ﺃﻥ ﻟﻜﻞ ﺣﺎﻙ‪ ‬ﺃﻭ ﺭﺍﻭﹴ ﻭﺳﺎﺋﻠﻪ ﻭﻓﻨﻮﻧﻪ ﺍﳋﺎﺻﺔ ﰲ ﺟﺬﺏ ﺍﻧﺘﺒﺎﻩ ﺍﳌﺘﻠﻘﲔ‪ ،‬ﺳﻮﺍﺀ ﻛﺎﻥ ﺫﻟـﻚ‬
‫ﺑﺎﻟﻠﻔﻆ ﺃﻭ ﻋﻦ ﻃﺮﻳﻖ ﺗﻌﺎﺑﲑ ﺍﻟﻮﺟﻪ‪ ،‬ﻭﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﳚﻤﻊ ﺑﲔ ﺍﻟﻮﺳﻴﻠﺘﲔ‪.‬‬
‫ﺇﻥﹼ ﺍﻃﻼﻋﻨﺎ ﻋﻠﻰ ﻋﻴﻨﺔ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺍﳌﺴﻴﻠﺔ ﺃﺭﺳﻰ ﰲ ﺃﺫﻫﺎﻧﻨـﺎ‬
‫ﺻﻮﺭﺓ ﳍﻴﻜﻞ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺎﺭﺟﻲ‪ ،‬ﻭﺍﻟﺬﻱ ﻳﺘ‪‬ﺴﻢ ﺑﺎﳌﻮﺣﺪ‪ ،‬ﺣﻴﺚ ﺗﺸـﺘﺮﻙ ﺍﳉﻤﺎﻋـﺔ ﺍﻟﺸـﻌﺒﻴﺔ ﰲ‬
‫ﺍﺳﺘﻌﻤﺎﻝ ﺻﻴﻐﺔ ﲤﻬﻴﺪﻳﺔ ﻣﺸﺘﺮﻛﺔ ﺗﺪﻝ ﻋﻠﻰ ﺃﻥ ﺍﻟﺮﺍﻭﻱ‪ ،‬ﻗﺪ ﺍﺑﺘﺪﺃ ﺣﻜﻴﻪ ﻫﺬﻩ ﺍﻟﺼﻴﻐﺔ ﻭﺭﺩﺕ ﻋﻠﻰ‬
‫ﺻﻮﺭﺗﲔ‪:‬‬
‫‪ -‬ﻣﻨﻬﻢ ﻣﻦ ﻳﻘﻮﻝ ‪":‬ﺑﺎﺳﻢ ﺍﷲ ﺑﺪﻳﺖ ﻭﻋﻠﻰ ﺍﻟﻨﱯ ﺻﻠﻴﺖ ﻭﻣﺎ ﳛﻠﻰ ﻟﻜﻼﻡ ﻏﲑ ﺑﺎﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ‬
‫ﺧﲑ ﺍﻷﻧﺎﻡ"‪.‬‬
‫‪ -‬ﻭﻣﻨﻬﻢ ﻣﻦ ﻳﻘﻮﻝ ‪":‬ﺣﺎﺟﻴﺘﻚ ﻣﺎ ﺟﻴﺘﻚ‪ ،‬ﻟﻮ ﻛﺎﻥ ﻣﺎ ﻫﻮ ﻣﺎ ﻣـﺎ ﺟﻴﺘـﻚ‪ ،‬ﻳﻘﻮﻟـﻮﺍ ﻛـﺎﻳﻦ‬
‫ﺑﻜﺮﻱ‪ "...‬ﻭﻫﻜﺬﺍ ﻳﺒﺪﺃ ﺍﻟﺮﺍﻭﻱ ﰲ ﺳﺮﺩ ﺃﺣﺪﺍﺙ ﺣﻜﺎﻳﺘﻪ ﺍﳌﺘﺒﻘﻴﺔ‪..‬‬
‫ﻭﺑﺎﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺼﻴﻐﺔ ﺍﻟﺘﻤﻬﻴﺪﻳﺔ ﺍﻷﻭﱃ‪ ،‬ﻧﻼﺣﻆ ﻋﻠﻴﻬﺎ‪ ،‬ﻣﺴﺤﺔ ﺩﻳﻨﻴﺔ ﺇﺳﻼﻣﻴﺔ ﻣﺮﺗﺒﻄﺔ ﺑﺬﻛﺮ‬
‫ﺍﺳﻢ ﺍﷲ‪ ،‬ﻭﺍﻓﺘﺘﺎﺡ ﺍ‪‬ﻠﺲ ﺑﻪ‪ ،‬ﻭﺑﺎﻟﺘﺤﺒﻴﺐ ﰲ ﺷﺨﺺ ﺍﻟﺮﺳﻮﻝ‪ ،‬ﻭﺍﻟﺪﻋﻮﺓ ﺇﱃ ﺍﻟﺼﻼﺓ ﻋﻠﻴﻪ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺼﻴﻐﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻓﺘﺘﺄﻟﻒ ﻣﻦ ﺛﻼﺙ ﻣﻘﺎﻃﻊ ﻫﻲ‪:‬‬
‫‪" -‬ﺣﺎﺟﻴﺘﻚ ﲟﺎ ﺟﻴﺘﻚ"‪ ،‬ﺃﻱ ﺃﺣﺎﻛﻴﻚ ﲟﺎ ﺟﺌﺘﻚ ﺑﻪ‪.‬‬
‫‪ -‬ﺃﻣﺎ ﺍﳌﻘﻄﻊ ﺍﻟﺜﺎﱐ ‪":‬ﻟﻮﻛﺎﻥ ﻣﺎ ﻫﻮﻣﺎ ﻣﺎ ﺟﻴﺘﻚ"‪ ،‬ﻭﺍﻟﺬﻱ ﻳﻘﺪ‪‬ﻣﻪ ﺍﻟﺮﺍﻭﻱ ﻋﻠﻰ ﻫﻴﺌـﺔ ﻟﻐـﺰ‪ ،‬ﺃﻱ‬
‫ﻟﻮﻻﳘﺎ ﻣﺎ ﺃﺗﻴﺘﻚ‪ ،‬ﻭﺟﻮﺍﺑﻪ ﺍﻟﺮﺟﻼﻥ‪.‬‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪ ،‬ﺹ‪.119‬‬

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‫‪ -‬ﺃﻣﺎ ﺍﳌﻘﻄﻊ ﺍﻟﺜﺎﻟﺚ ‪":‬ﻳﻘﻮﻟﻮﺍ ﻛﺎﻳﻦ ﺑﻜﺮﻱ"‪ ،‬ﻓﺘﻘﺎﺑﻠﻪ ﰲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻔﺼﺤﻰ ﺻﻴﻐﺔ ‪":‬ﻛﺎﻥ ﰲ‬
‫ﻗﺪﱘ ﺍﻟﺰﻣﺎﻥ"‪.‬‬
‫ﻟﻴﺴﺮﺩ ﺑﻌﺪ ﺫﻟﻚ ﺍﻟﺮﺍﻭﻱ ﻛﻞﹼ ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺇﲨﺎﻻ ﻭﺗﻔﺼﻴﻼ‪ ،‬ﺇﱃ ﺃﻥ ﻳﺼﻞ ﺇﱃ‬
‫‪‬ﺎﻳﺘﻬﺎ‪ ،‬ﻓﻴﺘﻮﻗﻒ ﻋﻨﺪ ﻣﺎ ﻳ‪‬ﺴﻤ‪‬ﻰ ﺑﺎﻟﺼﻴﻐﺔ ﺍﳋﺘﺎﻣﻴﺔ‪.‬‬
‫ﺣﻴﺚ ﳜﺘﺎﺭ ﺑﻌﺾ ﺍﻟﺮﻭﺍﺓ ﺍﳌﺴﻴﻠﻴﲔ ﺻﻴﻐﺔ "ﻫﺬﺍ ﻣﺎ ﲰﻌﻨﺎ ﻭﻫﺬﺍ ﻣﺎ ﭬﻟﻨـﺎ" ﻭﺍﻟـﱵ ﺗﻌﻜـﺲ‬
‫ﺟﺎﻧﺒﲔ ﻣﻬﻤﲔ‪ ،‬ﺍﻷﻭ‪‬ﻝ ﻣﺮﺗﺒﻂ ﺑﻄﺮﻳﻘﺔ ﺗﻨﺎﻗﻞ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﻭﺍﻟﱵ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﻟﺴﻤﺎﻉ‬
‫ﻭﺍﳌﺸﺎﻓﻬﺔ )ﻫﺬﺍ ﻣﺎ ﲰﻌﻨﺎ(‪.‬‬
‫ﻭﺍﻟﺜﺎﱐ‪ ،‬ﲤﺜﻠﻪ ﺍﻷﻣﺎﻧﺔ ﺍﻟﻌﻠﻤﻴﺔ ﺍﳌﺘﻮﻓﺮﺓ ﰲ ﺷﺨﺺ ﺍﻟﺮﺍﻭﻱ‪ ،‬ﻭﺍﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ ﻧﻘـﻞ ﺍﻷﺧﺒـﺎﺭ‬
‫ﻭﺍﳊﻮﺍﺩﺙ ﺑﻜﻞ ﻣﺼﺪﺍﻗﻴﺔ ﺣﻴﺚ ﺗﻌﻜﺴﻬﺎ ﻋﺒﺎﺭﺓ )ﻭﻫﺬﺍ ﻣﺎ ﻗﻠﻨﺎ(‪.‬‬
‫ﻭﳜﺘﺎﺭ ﺑﻌﺾ ﺍﻟﺮﻭﺍﺓ ﺻﻴﻐﺎ ﻣﺴﻠﻴﺔ ﻛﻘﻮﳍﻢ ‪":‬ﻗﺼﺘﻨﺎ ﻛﻤﻠﺖ ﻭﺍﻟﻌﻴﻮﻥ ﺫﺑﻠـﺖ" ﻭﺁﺧـﺮﻭﻥ‬
‫ﻳﻔﻀﻠﻮﻥ ﺧﺘﺎﻣﻬﺎ ﺑﺎﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ ﳏﻤﺪ ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ ﻓﻘﻂ‪،‬ﰲ ﺣﲔ ﻳﻔﻀﻞ ﺑﻌﺾ ﺍﻟﺮﻭﺍﺓ‬
‫ﺗﺮﻙ ﺍ‪‬ﺎﻝ ﻣﻔﺘﻮﺣﺎ ﻟﺘﻮﺍﺻﻞ ﺗﺄﺛﲑ ﺍﻷﺣﺪﺍﺙ ﺍﻟﻨﻬﺎﺋﻴﺔ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺑﺎﻻﺳﺘﻐﻨﺎﺀ ‪‬ﺎﺋﻴﺎ ﻋﻦ ﺍﻟﺼﻴﻐﺔ‬
‫ﺍﳋﺘﺎﻣﻴﺔ‪ ،‬ﻭﺑﺬﻟﻚ ﻳﻜﻮﻧﻮﻥ ﻗﺪ ﺣﻘﻘﻮﺍ ﻟﻠﺠﻤﺎﻋﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻏﺎﻳﺘﻬﺎ ﰲ ﻓﻮﺯ ﺍﻟﺒﻄﻞ ﻭﺍﻧﺘﺼﺎﺭ ﺍﳊﻖ ﻭﺍﳋﲑ‬
‫ﻋﻠﻰ ﺍﻟﺒﺎﻃﻞ ﻭﺍﻟﺸﺮ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺈﻥ ﻫﻴﻜﻞ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳋﺎﺭﺟﻲ ﺇﻥ ﺻﺢ ﺍﻟﺘﻌﺒﲑ ﻳﻘﺎﺑﻠﻪ ﰲ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻌﺮﺑﻴـﺔ ﻣـﺎ‬
‫ﻳﺴﻤﻰ ﺑﺎﳌﻨﻬﺠﻴﺔ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ )ﺍﳌﻘﺪﻣﺔ‪ ،‬ﺍﻟﻌﺮﺽ‪ ،‬ﺍﳋﺎﲤﺔ(‪.‬‬
‫‪ ‬ﺣﻴﺚ ﺗﺘﻮﺍﻓﻖ ﺍﳌﻘﺪﻣﺔ ﻣﻊ ﻣﺎ ﻳﺴﻤﻰ ﺍﻟﺼﻴﻐﺔ ﺍﻟﺘﻤﻬﻴﺪﻳﺔ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪.‬‬
‫‪ ‬ﻭﺃﻣﺎ ﺍﻟﻌﺮﺽ ﻓﻴﺘﻮﺍﻓﻖ ﻭﻛﻞ ﺍﻷﺣﺪﺍﺙ ﺍﳉﺎﺭﻳﺔ ﻭﺍﻟﱵ ﺗﺆﻟﻒ ﻧﺺ ﺍﳊﻜﺎﻳﺔ‪.‬‬
‫‪ ‬ﰲ ﺣﲔ ﺃﻥ ﺍﳋﺎﲤﺔ ﺗﺘﻮﺍﻓﻖ ﻭﺍﻟﺼﻴﻐﺔ ﺍﳋﺘﺎﻣﻴﺔ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪.‬‬
‫ﺇﻥﹼ ﺍﳌﻠﻔﺖ ﻟﻼﻧﺘﺒﺎﻩ ﻫﻮ ﺫﻟﻚ ﺍﻟﺘﻘﺎﺭﺏ ﺑﲔ ﻧﺺ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭﻧﺺ ﺍﻟﺮ‪‬ﻭﺍﻳﺔ ﻭﺍﻟﻘﺼـﺔ‪،‬‬
‫ﺧﺎﺻﺔ ﻣﺎ ﻳﺘﻌﻠﻖ ﻣﻨﻪ ﺑﺘﻜﺎﻣﻞ ﺍﻟﺘﻄﻮﺭ ﺍﳌﻨﻬﺠﻲ ﺑﲔ ﺍﻟﻨﻮﻋﲔ )ﺍﻟﺮ‪‬ﻭﺍﻳﺔ ﻭﺍﳊﻜﺎﻳﺔ( ﺿﻒ ﺇﱃ ﺫﻟﻚ ﺍﻟﺒﻌﺪ‬
‫ﺍﻟﻔﲏ ﺑﲔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﻟﺴﺮﺩ ﺍﻟﻘﺼﺼﻲ ﺍﻟﻘﺎﺋﻢ ﻋﻠﻰ ﺍﻟﻮﺻﻒ ﻭﺍﻟﺴﺮﺩ ﻭﺍﳊﻮﺍﺭ‪.‬‬

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‫ﳍﺬﺍ ﲰﺤﺖ ﻟﻨﺎ ﺍﻟﻔﺮﺻﺔ ﺑﻀﺒﻂ ﻧﺼﻮﺹ ﺑﻌﺾ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﻟﺪﺭﺍﺳﺘﻬﺎ ﺑﻄﺮﻳﻘﺔ‬
‫ﻓﻨﻴﺔ ﻭﺻﻔﻴﺔ‪ ،‬ﲤﺲ‪ ‬ﻟﻐﺘﻬﺎ ﺍﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ ﺍﻟﻮﺻﻒ ﻭﺍﻟﺴﺮﺩ ﻭﺍﳊﻮﺍﺭ‪ ،‬ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‬
‫ﻋﻨﺼﺮﻱ ﺍﻟﺸ‪‬ﺨﺼﻴﺎﺕ ﻭﺍﳊﻴﺰﻳﻦ ﺍﻟﺰﻣﺎﱐ ﻭﺍﳌﻜﺎﱐ ﻓﻴﻬﺎ‪.‬‬
‫ﻭﻗﺒﻞ ﺃﻥ ﻧﻠﺞ ﺇﱃ ﺩﺭﺍﺳﺘﻨﺎ ﺍﻟﻔﻨﻴﺔ ﺳﻨﺤﺎﻭﻝ ﻓﻴﻤﺎ ﻳﻠﻲ ﺗﻘﺪﱘ ﻣﻠﺨﺺ ﻟﺒﻌﺾ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟـﱵ‬
‫ﺳﺘﻄﺒﻖ ﻋﻠﻴﻬﺎ ﺍﻟﺪﺭﺍﺳﺔ‪.‬‬

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 ‫ﻣﻠﺨﺺ ﻟﺒﻌﺾ اﻟﺤﻜﺎﻳﺎت اﻟﺸﻌﺒﻴﺔ ﻓﻲ اﻟﻤﻨﻄﻘﺔ‪:‬‬
‫ﻣﻠﺨﺺ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‪:‬‬
‫)‪ (1‬ﺗﺰﻭﺝ ﺍﳌﻠﻚ ﻣﻦ ﺳﺒﻌﺔ ﻧﺴﺎﺀ ﺷﺮﻳﻄﺔ ﺃﻥ ﺗﻘﻮﻡ ﻛﻞﹼ ﻭﺍﺣﺪﺓ ﻣﻨﻬﻦ‪ ‬ﺑﻌﻤﻞ ﺧـﺎﺭﻕ‪(2) ،‬‬
‫ﻓﺸﻠﺖ ﺍﻟﺰﻭﺟﺎﺕ ﺍﻟﺴﺘﺔ ﰲ ﺍﻟﻘﻴﺎﻡ ﺑﻌﻤﻞ ﺧﺎﺭﻕ ﻋﺪﺍ ﺍﻟﺴﺎﺑﻌﺔ ﺍﻟﱵ ﺗﻌﻬﺪﺗﻪ ﺑﺈﳒـﺎﺏ ﻃﻔﻠـﲔ‪(3) ،‬‬
‫ﺗﻜﻴﺪ ﺍﻟﻨﺴﻮﺓ ﲟﻌﻮﻧﺔ ﺳﺘ‪‬ﻮﺕ‪ ،‬ﺑﺎﳌﺮﺃﺓ ﺍﻟﺴﺎﺑﻌﺔ‪ ،‬ﻭﲢﻠﻦ ﺩﻭﻥ ﲢﻘﻴﻖ ﺃﻣﻨﻴﺔ ﺍﻹﳒﺎﺏ‪ (4) ،‬ﺇﺧﻔﺎﺀ ﺳﺘﻮﺕ‬
‫ﻟﻠﻄﻔﻠﲔ ﺑﻌﺪ ﻭﻻﺩ‪‬ﻤﺎ ﰲ ﺍﳊﻘﻴﺒﺔ ﻭﺍﺳﺘﺒﺪﺍﳍﻤﺎ ﲝﻴﻮﺍﻧﲔ‪ (5) ،‬ﺭﻣﻲ ﺍﳊﻘﻴﺒﺔ ﰲ ﺍﻟﺒﺤـﺮ ﻭﺍﻟﺘﻨﻜﻴـﻞ‬
‫ﺑﺎﻟﺰﻭﺟﺔ‪ (6) ،‬ﺃﺣﺪ ﺍﻟﺼﻴﺎﺩﻳﻦ ﳚﺪ ﺍﳊﻘﻴﺒﺔ ﻭﻳﺄﺧﺬﻫﺎ ﻣﻌﻪ ﺇﱃ ﺑﻴﺘﻪ ﻭﻳﺘﺒﲎ‪ ‬ﺍﻟﻮﻟـﺪﻳﻦ‪ (7) ،‬ﻳﻌـﺮﻑ‬
‫ﺍﻟﻮﻟﺪﺍﻥ ﺃ‪‬ﻤﺎ ﻟﻴﺴﺎ ﺍﺑﻨﺎ ﺍﻟﺼﻴﺎﺩ‪ (8) ،‬ﻳﻌﻤﻞ ﺍﻟﻮﻟﺪ ﻋﻠﻰ ﺭﺩ‪ ‬ﲨﻴﻞ ﺍﻟﺼﻴﺎﺩ‪ ،‬ﰒ ﻳﺒﺤﺚ ﻋﻦ ﺃﺑﻮﻳﻪ‪(9) ،‬‬
‫ﳝﻀﻲ ﺍﻟﻮﻟﺪﺍﻥ ﺩﻭﻥ ﻣﻌﺮﻓﺔ ﻣﻘﺼﺪﳘﺎ‪ ،‬ﻭﰲ ﻃﺮﻳﻘﻬﻤﺎ ﻳﻠﺘﻘﻴﺎﻥ ﺑﺸﻴﺦ ﻳﻌﻄﻴﻬﻤﺎ ﻋﺼﺎ ﺳﺤﺮﻳﺔ ﻟﻴﺴﺘﻘﺮﺍ‬
‫ﰲ ﺃﺭﺽ ﻭﺍﻟﺪﳘﺎ ﺩﻭﻥ ﻣﻌﺮﻓﺔ ﺫﻟﻚ‪ (10) ،‬ﺗﺪﺭﻛﻬﻤﺎ ﺳﺘﻮﺕ ﻭﺗﻄﻤﻊ ﰲ ﺍﻟﻘﺼﺮ ﺍﻟﺬﻱ ﻳﻌﻴﺸﺎﻥ ﻓﻴﻪ‬
‫ﰒﹼ ﺗﺒﺪﺃ ﰲ ﺍﻟﺘﺨﻄﻴﻂ ﻟﻠﻘﻀﺎﺀ ﻋﻠﻴﻬﻤﺎ ﻭﺍﻻﺳﺘﻴﻼﺀ ﻋﻠﻰ ﺍﻟﻘﺼﺮ‪ (11) ،‬ﲢﻴﻚ ﺳﺘﻮﺕ ﻋـﺪ‪‬ﺓ ﺣﻴـﻞ‬
‫ﻟﻠﻘﻀﺎﺀ ﻋﻠﻰ ﺍﻟﻔﱴ ﺩﻭﻥ ﺟﺪﻭﻯ‪ ،‬ﻓﺘﺪﻓﻌﻪ ﺇﱃ ﺍﻟﺬﻫﺎﺏ ﻹﺣﻀﺎﺭ ﺍﻣﺮﺃﺓ ﺗﺪﻋﻰ ﺟﺎﺯﻳﺔ ﻭﺍﻟﺰﻭﺍﺝ ‪‬ـﺎ‬
‫ﻭﺫﻟﻚ ﻟﺼﻌﻮﺑﺔ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻴﻬﺎ‪ (12) ،‬ﻳﺘﻤﻜﻦ ﺍﻟﻔﱴ ﻣﻦ ﺇﺣﻀﺎﺭ ﺟﺎﺯﻳﺔ ﺑﺬﻛﺎﺀ ﻭﻳﺘﺰﻭﺝ ‪‬ﺎ‪(13) ،‬‬
‫ﺗﺘﻮﺍﺻﻞ ﺳﺘﻮﺕ ﰲ ﻣﻜﺎﺋﺪﻫﺎ ﻓﺘ‪‬ﻘﺪﻡ ﻋﻠﻰ ﻋﺰﻭﻣﺘﻬﻢ ﻭﲢﺎﻭﻝ ﺗﺴﻤﻴﻤﻬﻢ‪ (14) ،‬ﺗﻨﺠﻮﺍ ﻋﺎﺋﻠﺔ ﺍﻟﻔـﱴ‬
‫ﻣﻦ ﺍﻟﺴﻢ ﺑﻔﻀﻞ ﻓﻄﻨﺔ ﺟﺎﺯﻳﺔ ﻭﺗﻘﻮﻡ ﺑﺪﻋﻮ‪‬ﻢ ﻫﻲ ﺍﻷﺧﺮﻯ ﺷﺮﻳﻄﺔ ﺇﺣﻀﺎﺭ ﻛﻞﹼ ﺷﺨﺺ ﻣﻮﺟـﻮﺩ‬
‫ﰲ ﺍﻟﺒﻴﺖ‪ ،‬ﺃﺛﻨﺎﺀ ﺍﻟﻌﺸﺎﺀ ﺗﺒﺪﺃ ﺟﺎﺯﻳﺔ ﺑﺎﻟﺘﺤﺪ‪‬ﺙ ﻭﺳﺮﺩ ﺍﻟﻘﺼﺺ ﻗﺎﺻﺪﺓ ﺇﺑﺮﺍﺯ ﺍﳊﻘﻴﻘﺔ ﺍﻟﱵ ﻛﺎﻧـﺖ‬
‫ﺗﻌﻠﻢ ‪‬ﺎ‪ (15) ،‬ﻳﺘﺒﻴ‪‬ﻦ ﻟﻠﺴﻠﻄﺎﻥ ﺃﻥ ﺍﻟﻘﺼ‪‬ﺔ ﺍﻟﱵ ﲰﻌﻬﺎ ﻣﺘﻌﻠﻘﺔ ﺑﻪ‪ (16) ،‬ﺗﻈﻬﺮ ﺍﳊﻘﻴﻘﺔ ﻋﻠﻰ ﻳـﺪ‬
‫ﺟﺎﺯﻳﺔ ﺍﻟﱵ ﺗﻌﺘﺮﻑ ﻟﻠﺴﻠﻄﺎﻥ ﲝﻘﻴﻘﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‪ (17) ،‬ﺗ‪‬ﻌﺎﻗﺐ ﺳﺘﻮﺕ ﻭﺍﻟﻨﺴﻮﺓ ﻋﻠﻰ ﻳـﺪ‬
‫ﺍﻟﺴﻠﻄﺎﻥ ﻋﻘﺎﺑﺎ ﺷﺪﻳﺪﺍ‪.‬‬

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 ‫ﻣﻠﺨﺺ ﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ‪:‬‬
‫)‪ (1‬ﻛﺎﻥ ﻷﻡ ﺳﺒﻌﺔ ﺃﻭﻻﺩ ﺫﻛﻮﺭ ﻭﱂ ﺗﺮﺯﻕ ﺑﺎﻟﺒﻨﺎﺕ‪ (2) ،‬ﻛﱪ ﺍﻷﻭﻻﺩ ﻭﻗﺮﺭﻭﺍ ﻣﻐـﺎﺩﺭﺓ‬
‫ﺍﻟﺒﻴﺖ ﻭﺃﻗﺮﻧﻮﺍ ﻋﻮﺩ‪‬ﻢ ﺇﻟﻴﻪ ﺑﺈﳒﺎﺏ ﺃﻣﻬﻢ ﻟﺒﻨﺖ‪ (3) ،‬ﺃﳒﺒﺖ ﺍﻷﻡ ﺑﻨﺘﺎ ﻓﺄﺭﺳﻠﺖ ﺍﳋﺎﺩﻣﺔ ﻟﺘﺨـﱪﻫﻢ‬
‫ﺑﺎﻟﺒﺸﺮﻯ ﻟﻜﻦ ﺳﺘﻮﺕ ﺯﻳ‪‬ﻔﺖ ﺍﳊﻘﻴﻘﺔ ﻭﻫﻜﺬﺍ ﱂ ﻳﺮﺟﻊ ﺍﻷﻭﻻﺩ‪ (4) ،‬ﻛﱪﺕ ﺍﻟﻄﻔﻠﺔ ﻭﺃﺻـﺒﺤﻮﺍ‬
‫ﻳﻠﻘﺒﻮ‪‬ﺎ ﺑﻮﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ‪ ،‬ﺍﺳﺘﻔﺴﺮﺕ ﺍﻟﺒﻨﺖ ﻋﻦ ﻫﺬﻩ ﺍﻟﺘﺴﻤﻴﺔ ﻓﺄﺧﱪ‪‬ﺎ ﺃﻣﻬﺎ ﺑﺎﻟﻘﺼﺔ‪ (5) ،‬ﺗﻘﺮﺭ‬
‫ﻭﺩﻋﺔ ﺍﻟﺮﺣﻴﻞ ﲝﺜﺎ ﻋﻦ ﺇﺧﻮ‪‬ﺎ ﻟﻜﻦ ﺳﺘ‪‬ﻮﺕ ﻭﺍﳋﺎﺩﻣﺎﺕ ﻳﻜﺪﻥ ﳍﺎ ﻛﻴﺪﺍ ﻋﻈﻴﻤﺎ ﻓﺘﺪﻋﻲ ﺳﺘﻮﺕ ﺃﻧ‪‬ﻬﺎ‬
‫ﺃﺧﺘﻬﻢ ﰲ ﺣﲔ ﺗﺘﺤﻮﻝ ﻭﺩﻋﺔ ﺇﱃ ﺧﺎﺩﻣﺔ‪ (6) ،‬ﲤﺮ‪ ‬ﺍﻷﻳﺎﻡ ﻭ ﻭﺩﻋﺔ ﻫﻲ ﺍﳋﺎﺩﻣـﺔ ﻋﻨـﺪ ﺇﺧﻮ‪‬ـﺎ‬
‫ﻭﺯﻭﺟﺎ‪‬ﻢ ﺇﱃ ﺃﻥ ﺗﻜﺸﻒ ﻷﺧﻴﻬﺎ ﺍﻷﻛﱪ ﺑﺄ‪‬ﺎ ﺃﺧﺘﻬﻢ ﺍﳊﻘﻴﻘﻴﺔ‪ (7) ،‬ﻳﻌﻤﻞ ﺍﻷﺥ ﻋﻠـﻰ ﺗﻘﺼـﻲ‬
‫ﺍﳊﻘﻴﻘﺔ ﲟﺴﺎﻋﺪﺓ ﺍﳌﺪﺑﺮ‪ (8) ،‬ﻳﺘﺄﻛﺪ ﻣﻦ ﺃﻥ ﻭﺩﻋﺔ ﻫﻲ ﺃﺧﺘﻪ ﻓﻴﻌﻴﺪﻫﺎ ﺇﱃ ﻣﻜﺎﻧﺘـﻬﺎ‪ (9) ،‬ﺗـﺪﺑﺮ‬
‫ﺳﺘﻮﺕ ﻭﺍﻟﻨﺴﻮﺓ ﻣﻜﻴﺪﺓ ﻟﻮﺩﻋﺔ ﻓﻴﻄﻌﻤﻮﻫﺎ ﺑﻴﺾ ﺍﻷﻓﺎﻋﻲ ﺩﻭﻥ ﻋﻠﻤﻬﺎ‪ (10) ،‬ﺗ‪‬ﻄﺮﺩ ﻭﺩﻋـﺔ ﻣـﻦ‬
‫ﺍﳌﻨﺰﻝ‪ (11) ،‬ﻳﻨﻘﺬﻫﺎ ﺍﻟﺼﻴﺎﺩ ﺍﻟﻔﺎﺭﺱ ﻭﻳﺘﺰﻭﺟﻬﺎ‪ (12) ،‬ﳚﻮﺭ ﺍﻟﺰﻣﻦ ﻋﻠﻰ ﺍﻷﺧﻮﺓ‪ ،‬ﻭﺗﺴﻮﺀ ﺣﺎﳍﻢ‬
‫ﻭﺑﺎﻟﺼﺪﻓﺔ ﻳﻨﺰﻝ ﰲ ﺑﻴﺖ ﻭﺩﻋﺔ ﻭﺍﺣﺪ ﻣﻦ ﺇﺧﻮ‪‬ﺎ ﻛﻄﺎﻟﺐ ﻟﻠﻤﻌﻮﻧﺔ‪ (13) ،‬ﺗﺘﻌﺮﻑ ﻭﺩﻋـﺔ ﻋﻠﻴـﻪ‬
‫ﻭﺗﺘﱪﻉ ﻟﻪ ﺑﺴﺨﺎﺀ‪ (14) ،‬ﻳﺸﻚ ﺍﻷﺥ ﰲ ﺍﻷﻣﺮ ﻓﲑﺟﻊ ﺇﱃ ﺑﻴﺖ ﺃﺧﺘﻪ ﻗﺼﺪ ﺍﻟﺘﺄﻛﺪ‪ (15) ،‬ﲣـﱪ‬
‫ﻭﺩﻋﺔ ﺯﻭﺟﻬﺎ ﻭﺃﺧﺎﻫﺎ ﺑﺎﻟﻘﺼﺔ‪ (16) ،‬ﻳﻌﺎﻗﺐ ﺍﻹﺧﻮﺓ ﺳﺘﻮﺕ ﻭﺍﳋﺎﺩﻣﺎﺕ ﺑﻘﺴﻮﺓ ﺗﻌـﻴﺶ ﻭﺩﻋـﺔ‬
‫ﻭﺳﻂ ﺇﺧﻮ‪‬ﺎ ﰲ ﺳﻌﺎﺩﺓ ﻭﻫﻨﺎﺀ‪.‬‬

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 ‫ﻣﻠﺨﺺ ﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ‬
‫)‪ (1‬ﺍﻟﺘﻘﻰ ﺍﻟﺬﺋﺐ ﻭﺍﻟﻘﻨﻔﺪ ﻭﲢﺎﻭﺭﺍ ﻋﻦ ﻋﺪﺩ ﺣﻴﻠﻬﻤﺎ‪ (2) ،‬ﺣﻴﻞ ﺍﻟﺬﺋﺐ ﻣﺎﺋﺔ ﻭﻭﺍﺣﺪ‪ ،‬ﺃﻣ‪‬ﺎ‬
‫ﺍﻟﻘﻨﻔﺪ ﻓﻼ ﳝﻠﻚ ﺳﻮﻯ ﺣﻴﻠﺔ ﻭﺍﺣﺪﺓ‪ (3) ،‬ﻳﻐﺘﺮ ﺍﻟﺬﺋﺐ ﺑﻨﻔﺴﻪ ﻭﻗﺪﺭﺗﻪ ﻭﻳﻠﻘﻲ ﺑﺎﻟﻘﻨﻔﺪ ﺩﺍﺧﻞ ﺍﻟﺒﺌﺮ‪،‬‬
‫)‪ (4‬ﻳﺒﺤﺚ ﺍﻟﻘﻨﻔﺪ ﻋﻦ ﺣﻴﻠﺘﻪ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ ﺳﺘﻨﺠﻴﻪ ﻣﻦ ﻗﻌﺮ ﺍﻟﺒﺌﺮ‪ (5) ،‬ﻳﺼﺪﺭ ﺍﻟﻘﻨﻔـﺪ ﺃﺻـﻮﺍﺗﺎ‬
‫ﻛﺜﲑﺓ ﻣﻘﻠﹼﺪﺍ ‪‬ﺎ ﺃﺻﻮﺍﺕ ﺍﳌﺎﺷﻴﺔ ﻭﻧﺪﺍﺀﺍﺕ ﺍﻟﺒﺎﻋﺔ ﰲ ﺳﻮﻕ ﺍﳌﺎﺷﻴﺔ‪ (6) ،‬ﻳﺴﻤﻊ ﺍﻟﺬﺋﺐ ﺍﻷﺻـﻮﺍﺕ‬
‫ﻭﻳﺼﺪ‪‬ﻗﻬﺎ ﻓﺘﻨﻄﻮﻱ ﻋﻠﻴﻪ ﺍﳊﻴﻠﺔ‪ (7) ،‬ﻳﺴﺄﻝ ﺍﻟﺬﺋﺐ ﺍﻟﻘﻨﻔﺪ ﻋﻦ ﻛﻴﻔﻴﺔ ﳊﺎﻗﻪ ﺑﻪ‪ (8) ،‬ﻳﺒﻠﻎ ﺍﻟﻘﻨﻔـﺪ‬
‫ﺍﻟﺬﺋﺐ ﺑﺎﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺗﻨﺘﻬﻲ ﺑﺎﻟﻘﻨﻔﺪ ﺧﺎﺭﺟﺎ ﻭﺍﻟﺬﺋﺐ ﺩﺍﺧﻞ ﺍﻟﺒﺌﺮ‪ (9) ،‬ﻳﺴﺨﺮ ﺍﻟﻘﻨﻔﺪ ﻣﻦ ﺍﻟـﺬﺋﺐ‬
‫ﻭﻳﺪﻋﻮﻩ ﺇﱃ ﺍﺳﺘﺤﻀﺎﺭ ﺣﻴﻠﺔ ﻣﻦ ﺍﳌﺎﺋﺔ ﻭﻭﺍﺣﺪ ﺍﻟﱵ ﳝﻠﻜﻬﺎ ﻋﻠﹼﻬﺎ ﺗﻨﺠﻴﻪ‪.‬‬

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 ‫وّأ ﻻ‪ -‬اﻟﺠﺎﻧﺐ اﻟﻔﻨﻲ ﻟﻠﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ‬
‫‪ -1‬ﺍﻟﻮﺻـﻒ‪:‬‬
‫ﻟﻘﺪ ﻋﺮﻓﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﳘﻴﺔ ﺑﺎﻟﻐﺔ ﺧﻼﻝ ﺍﻟﺴﻨﻮﺍﺕ ﺍﳌﺎﺿﻴﺔ‪ ،‬ﻭﺫﻟﻚ ﻟﻠـﺪﻭﺭ ﺍﻟﺒـﺎﺭﺯ‬
‫ﺍﻟﺬﻱ ﻟﻌﺒﺘﻪ ﰲ ﺗﺼﻮﻳﺮ ﺍﻹﻧﺴﺎﻥ ﻭﻭﺟﻮﺩﻩ ﰲ ﺍﻟﻜﻮﻥ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺩﻭﺭﻫـﺎ ﰲ ﲢﺪﻳـﺪ ﺧﻠﺠﺎﺗـﻪ‬
‫ﺍﻟﺸﻌﻮﺭﻳﺔ ﻭﺍﻟﻔﻜﺮﻳﺔ ﻭﺗﻠﺒﻴﺔ ﺍﺣﺘﻴﺎﺟﺎﺗﻪ ﺍﳉﻤﺎﻟﻴﺔ ﻭﺍﻟﺬﻭﻗﻴﺔ‪ ،‬ﻟﺬﻟﻚ ﻋ‪‬ﺪ‪‬ﺕ ﻣﻦ ﺍﻟﻔﻨﻮﻥ ﺍﻷﻛﺜﺮ ﺍﺗﺼـﺎﻻ‬
‫ﲝﻴﺎﺓ ﺍﻹﻧﺴﺎﻥ ﻭﺗﺼﻮﻳﺮﺍ ﳌﺨﺘﻠﻒ ﺍﻟﻮﻗﺎﺋﻊ ﻭﺍﻷﺣﺪﺍﺙ ﺍﻟﱵ ﻳﻌﻴﺸﻬﺎ ﻳﻮﻣﻴﺎ‪ ،‬ﻭﻳﺮﺟﻊ ﻫﺬﺍ ﺇﱃ ﺗﻮﻓﺮﻫـﺎ‬
‫ﻋﻠﻰ ﻭﺳﺎﺋﻞ ﻓﻨﻴﺔ ﻭﲨﺎﻟﻴﺔ ﺧﺎﺻﺔ ﺗﻨﻔﺮﺩ ‪‬ﺎ ﻋﻦ ﺳﺎﺋﺮ ﺍﻟﻔﻨﻮﻥ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﺇﻥﹼ ﺍﻟﺮﺍﻭﻱ ﺃﻭ ﺍﳊﺎﻛﻲ ﻋﻨﺪﻣﺎ ﻳﺒﺪﺃ ﰲ ﺑﻨﺎﺀ ﻋﺎﳌﻪ ﺍﳋﺎﺹ ﺍﻟﹼﺬﻱ ﺳـﻮﻑ ﻳﻀـﻊ ﰲ ﺇﻃـﺎﺭﻩ‬
‫ﺍﻟﺸ‪‬ﺨﺼﻴﺎﺕ ﰒﹼ ﻳﺴﻘﻂ ﻋﻠﻴﻪ ﺍﻟﺰﻣﻦ ﻳﻀﻊ ﻋﺎﳌﺎ ﻣﻜﻮ‪‬ﻧﺎ ﻣﻦ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﲣﻠﻖ ﺻﻮﺭﺍ ﳎﺎﺯﻳﺔ ﳍـﺬﺍ‬
‫ﺍﻟﻌﺎﱂ ﻭﻳﺘﻤﻜﻦ ﻣﻦ ﻫﺬﺍ ﺍﻟﻔﻌﻞ ﺑﻔﻀﻞ ﺗﻘﻨﻴﺔ ﺃﻻ ﻭﻫﻲ ﺍﻟﻮﺻﻒ‪.‬‬
‫ﻭﻟﻜﻦ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺗﺪﺍﻭﻝ ﺍﻟﻨ‪‬ﺎﺱ ﳌﻔﻬﻮﻡ ﺍﻟﻮﺻﻒ ﻭﺗﻌﺎﻣﻠﻬﻢ ﻣﻌـﻪ ﻭﻣﻌﺎﻳﺸـﺘﻬﻢ ﺇﻳـﺎﻩ‬
‫ﺇﺑﺪﺍﻋﻴﺎ‪ ،‬ﺇﻻ ﺃﻥ ﺍﻟﹼﺬﻳﻦ ﻓﻜﺮﻭﺍ ﻓﻴﻪ ﻣﻌﺮﻓﻴﺎ ﻭﺗﻮﻗﻔﻮﺍ ﻟﺪﻳﻪ ﺍﺻﻄﻼﺣﻴﺎ ﻫﻢ ﻗﻠﻴﻞ‪ ،‬ﻓﺎﻟﻮﺻﻒ ﰲ ﺍﻟﻮﺟﻬـﺔ‬
‫) ‪(1‬‬
‫ﺍﳌﻌﺠﻤﻴﺔ ﻫﻮ "ﻭﺻﻒ ﺍﻟﺸﻲﺀ ﲝﻠﻴﺘﻪ ﻭﻧﻌﺘﻪ"‪.‬‬
‫ﺑﻴﻨﻤﺎ ﻳﻌﲏ ﺍﻟﻮﺻﻒ ﻣﻦ ﺍﻟﻮﺟﻬﺔ ﺍﻻﺷﺘﻘﺎﻗﻴﺔ ﺍﻟﺘﺠﺴﻴﺪ ﻭﺍﻹﺑﺮﺍﺯ ﻭﺍﻹﻇﻬﺎﺭ‪ ،‬ﺣﻴﺚ ﻛﺎﻥ ﻳﻘﺎﻝ‬
‫) ‪(2‬‬
‫‪":‬ﻗﺪ ﻭﺻﻒ ﺍﻟﺜﻮﺏ ﺍﳉﺴﻢ ﺇﺫﺍ ﱎ ﻋﻠﻴﻪ ﻭﱂ ﻳﺴﺘﺮﻩ"‪.‬‬
‫ﻛﺜﲑﺍ ﻣﺎ ﻳﺮﺗﺒﻂ ﻣﺼﻄﻠﺢ ﺍﻟﻮﺻﻒ ﲟﺼﻄﻠﺢ ﺁﺧﺮ ﻫﻮ ﺍﻟﺴـﺮﺩ‪ ،‬ﺑـﻞ ﻳﺘـﺪﺍﺧﻼﻥ ﻓﻴﻤـﺎ‬
‫ﺑﻴﻨﻬﻤﺎ‪"،‬ﻷﻥ ﺍﻟﻮﺻﻒ ﺃﺻﻞ ﰲ ﺍﻹﺑﺪﺍﻉ‪ ،‬ﻭﺍﻟﺴﺮﺩ ﳎﺮﺩ ﻣﻈﻬﺮ ﺃﻭ ﺗﻘﻨﻴﺔ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﻓﺈﻥﹼ ﺍﻟﺴ‪‬ـﺮﺩ‬
‫ﻻ ﻳﻜﺎﺩ ﻳﻈﻬﺮ ﺣﺘ‪‬ﻰ ﻳﺘﻤﺎﺯﺝ ﻣﻊ ﺍﻟﻮﺻﻒ ﲤﺎﺯﺟﺎ ﻃﺒﻴﻌﻴﺎ‪ ،‬ﻭﺣﻴﺚ ﳛﻀﺮ ﺍﻟﻮﺻﻒ ﻳﻀﻌﻒ ﺍﻟﺴ‪‬ـﺮﺩ‬
‫) ‪(3‬‬
‫ﻭﻳﻔﺘﺮ"‪.‬‬

‫)‪ (1‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ‪ ،‬ﺝ‪11‬ﺹ‪.35‬‬

‫)‪ (2‬ﺍﺑﻦ ﺭﺷﻴﻖ‪ :‬ﺍﻟﻌﻤﺪﺓ‪ ،‬ﰲ ﳏﺎﺳﻦ ﺍﻟﺸﻌﺮ ﻭﺁﺩﺍﺑﻪ ﻭﻧﻘﺪﻩ‪،‬ﺕ‪:‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻫﻨﺪﺍﻭﻱ‪،‬ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ‪،‬ﺑﲑﻭﺕ‪،‬ﻁ‪2004، 1‬ﻡ ‪،‬ﺹ‪.292‬‬
‫)‪ (3‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺃﻟﻒ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ )ﲢﻠﻴﻞ ﺳﻴﻤﻴﺎﺋﻲ ﺗﻔﻜﻴﻜﻲ ﳊﻜﺎﻳﺔ ﲨﺎﻝ ﺑﻐﺪﺍﺩ(‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ‪.‬ﻁ(‪1993 ،‬ﻡ‬
‫ﺹ‪.86‬‬
‫‪- 124 -‬‬
‫ﺇﻥﹼ ﺍﻟﺘ‪‬ﺪﺍﺧﻞ ﺍﳊﺎﺻﻞ ﺑﲔ ﺍﻟﻮﺻﻒ ﻭﺍﻟﺴﺮﺩ ﺟﻌﻞ ﺟﲑﺍﺭ ﺟﻴﻨﺎﺕ ﻳﺘﺠﻪ ﺇﱃ ﳏﺎﻭﻟﺔ ﺍﻟﺘﻤﻴﻴـﺰ‬
‫ﺑﻴﻨﻬﻤﺎ ﻭﻳﺴﺘﺨﻠﺺ ﰲ ﺍﻟﻨﻬﺎﻳﺔ ﻧﺘﻴﺠﺔ ﻣﻬﻤﺔ ﲢﺪ‪‬ﺩ ﻃﺒﻴﻌﺔ ﻛﻞﹼ ﻣﻨﻬﻤﺎ‪ ،‬ﻳﻘﻮﻝ ﻓﻴﻬﺎ ‪":‬ﺃﻥﹼ ﺍﻷﻣﺮ ﻳﺮﺟـﻊ‬
‫ﺩﻭﻥ ﺷﻚ ﺇﱃ ﺃﻥ ﺍﻷﺷﻴﺎﺀ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻮﺟﺪ ﺑﺪﻭﻥ ﺣﺮﻛﺔ‪ ،‬ﻭﻟﻜـﻦ ﺍﳊﺮﻛـﺔ ﻻ ﺗﻮﺟـﺪ ﺑـﺪﻭﻥ‬
‫) ‪(1‬‬
‫ﺃﺷﻴﺎﺀ"‪.‬‬
‫ﰒﹼ ﻳﺘﺠﻪ ﺇﱃ ﲢﺪﻳﺪ ﺍﻟﻮﺻﻒ ﰲ ﻗﻮﻟﻪ ‪":‬ﻛﻞﹼ ﺣﻜﻲ ﻳﺘﻀﻤﻦ – ﺳﻮﺍﺀ ﺑﻄﺮﻳﻘﺔ ﻣﺘﺪﺍﺧﻠـﺔ ﺃﻭ‬
‫ﺑﻨﺴﺐ ﺷﺪﻳﺪﺓ ﺍﻟﺘﻐﲑ‪ -‬ﺃﺻﻨﺎﻓﺎ ﻣﻦ ﺍﻟﺘﺸﺨﻴﺺ ﻷﻋﻤﺎﻝ ﺃﻭ ﺃﺣﺪﺍﺙ ﺗﻜﻮﻥ ﻣﺎ ﻳﻮﺻـﻒ ﺑﺎﻟﺘﺤﺪﻳـﺪ‬
‫ﺳﺮﺩﺍ ‪ Narration‬ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﻳﺘﻀﻤﻦ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﺗﺸﺨﻴﺼﺎ ﻟﻸﺷﻴﺎﺀ ﺃﻭ ﻟﻸﺷﺨﺎﺹ‬
‫) ‪(2‬‬
‫ﻭﻫﺬﺍ ﻣﺎ ﻧﺪﻋﻮﻩ ﰲ ﻳﻮﻣﻨﺎ ﻫﺬﺍ ﻭﺻﻔﺎ"‪.‬‬
‫ﻓﺎﻟﻮﺻﻒ ﺇﺫﻥ ﺗﻘﻨﻴﺔ ﺗﻌﺒﲑﻳﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺗﺼﻮﻳﺮ ﺍﻷﺷﻴﺎﺀ ﰲ ﻣﻈﻬﺮﻫﺎ ﺍﳊﺴﻲ ﺑﻞ ﻭﺍﳌﻌﻨـﻮﻱ‬
‫ﺃﻳﻀﺎ ﻭﻳﻘﺪﻣﻬﺎ ﻟﻠﻌﲔ‪ ،‬ﻭ‪‬ﺎ ﻳﻨﻘﻞ ﺍﻟﺮﺍﻭﻱ ﻣﺴﺘﻤﻌﻴﻪ ﺇﱃ ﻋﺎﱂ ﺣﻜﺎﻳﺘﻪ‪ ،‬ﻓﺘﺘﻀﺢ ﻣﻌﺎﳌﻪ ﻭﻛﺄﻧﻪ ﻳـﺮﺍﻩ ﺃﻭ‬
‫ﻳﻌﻴﺶ ﻓﻴﻪ‪.‬‬
‫ﺇﻥﹼ ﺍﻟﻮﺻﻒ ﰲ ﺣﻜﺎﻳﺎﺗﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﻗﻠﻴﻞ‪ ،‬ﲝﻴﺚ ﻳﻜﺘﻔﻲ ﺍﻟﺴﺎﺭﺩ ﺑﺈﻋﻄﺎﺀ ﻭﺻﻒ ﻟﻠﺸ‪‬ﺨﺼـﻴﺔ‬
‫ﻣﻦ ﺧﻼﻝ ﻣﺎ ﳝﻴﺰﻫﺎ ﻣﻦ ﺻﻔﺎﺕ ﺳﻮﺍﺀ ﺟﺴﺪﻳﺔ ﺃﻭ ﺧﻠﻘﻴﺔ‪ ،‬ﻭﻻ ﻳﺘﻌﺪﺍﻫﺎ ﺇﱃ ﺗﻔﺎﺻﻴﻞ ﺃﻛﺜﺮ‪ ،‬ﻛﻤﺎ ﻧﺎﻝ‬
‫ﺍﳌﻜﺎﻥ ﺑﺄﻧﻮﺍﻋﻪ ﺟﺎﻧﺒﺎ ﻣﻦ ﺍﻟﻮﺻﻒ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺇﺫ ﺍﺳﺘﻄﺎﻉ ﺍﳊﺎﻛﻲ ﻭﺑﻮﺍﺳﻄﺘﻪ ﺃﻥ ﳛـﺪﺩ‬
‫ﺍﻟﻌﺎﱂ ﺍﳊﺴﻲ ﺍﻟﹼﺬﻱ ﺗﻌﻴﺶ ﻓﻴﻪ ﺍﻟﺸ‪‬ﺨﺼﻴﺎﺕ‪ ،‬ﺑﻞ ﻭﺧﻠﻖ ﻋﺎﳌﺎ ﺟﺪﻳﺪﺍ ﻣﺴﺘﻘﻼ ﻟﻪ ﺧﺼﺎﺋﺼﻪ ﺍﻟﻔﻨﻴـﺔ‬
‫ﺍﻟﱵ ﲤﻴﺰﻩ ﻋﻦ ﻏﲑﻩ ‪",‬ﻓﺈﺫﺍ ﻛﺎﻥ ﺍﻟﺴ‪‬ﺮﺩ ﻳﺸﻜﻞ ﺃﺩﺍﺓ ﺍﳊﺮﻛﺔ ﺍﻟﺰﻣﻨﻴﺔ ﰲ ﺍﳊﻜﻲ‪ ،‬ﻓﺈﻥﹼ ﺍﻟﻮﺻﻒ ﻫﻮ ﺃﺩﺍﺓ‬
‫) ‪(3‬‬
‫ﺗﺸﻜﻞ ﺻﻮﺭﺓ ﺍﳌﻜﺎﻥ‪."...‬‬
‫ﻭﺑﺎﻟﻌﻮﺩﺓ ﺇﱃ ﺣﻜﺎﻳﺎﺗﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﳒﺪ ﺃﻥ ﻣﻮﺍﻃﻦ ﺍﻟﻮﺻﻒ ﰲ ﺣﻜﺎﻳﺔ "ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴـﻞ"‬
‫ﻭﺣﻜﺎﻳﺔ "ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ" ﻭﺣﻜﺎﻳﺔ "ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ" ﻣﺘﻨﻮﻋﺔ ﺑﲔ ﻭﺻﻒ ﺍﻟﺸﺨﻮﺹ ﻭﻭﺻﻒ‬
‫ﺍﻷﻣﺎﻛﻦ ﻭﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﳝﻜﻦ ﺍﳊﻜﻢ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻮﺻﻒ ﺑﺄﻥ ﻣﻘﺎﻃﻌﻪ ﻗﻠﻴﻠﺔ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺜﻼﺛﺔ‪ ،‬ﺿﻒ‬
‫ﺇﱃ ﺫﻟﻚ ﺃﻧ‪‬ﻪ ﻭﺻﻒ ﳎﻤﻞ ﻻ ﺗﻔﺼﻴﻞ ﻓﻴﻪ ﻋﺪﺍ ﺍﻟﻘﻠﻴﻞ ﺍﻟﻨﺎﺩﺭ‪.‬‬

‫)‪ (1‬ﲪﻴﺪ ﳊﻤﺪﺍﱐ‪ :‬ﺑﻨﻴﺔ ﺍﻟﻨ‪‬ﺺ ﺍﻟﺴ‪‬ﺮﺩﻱ ﰲ ﻣﻨﻈﻮﺭ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪2،1993‬ﻡ‪ ،‬ﺹ‪.78‬‬
‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.78‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.80‬‬
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‫ﻓﻤﺜﻼ ﰲ ﺣﻜﺎﻳﺔ "ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ" ﻳﺼﻒ ﺍﳊﺎﻛﻲ ﺍﻟﻄﻔﻠﲔ ﺑﻘﻮﻟﻪ ‪":‬ﻭﰲ ﺍﻟﻠﻴﻠﺔ ﺍﳌﻨﺘﻈﺮﺓ‬
‫ﻭﺿﻌﺖ ﺍﳌﺮﺃﺓ ﻃﻔﻠﲔ ﺫﻛﺮ ﻭﺃﻧﺜﻰ ﻭﰲ ﺭﺃﺳﻴﻬﻤﺎ ﻗﺮﻭﻥ ﻓﻀﺔ ﻭﺫﻫﺐ"‪.‬‬
‫ﰒﹼ ﻳﺼﻒ ﺑﺎﻗﻲ ﺍﻟﺸ‪‬ﺨﺼﻴﺎﺕ ﺍﶈﺮ‪‬ﻛﺔ ﻷﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ ﺑﺪﺀً ﺑﺎﻟﺼﻴﺎﺩ ‪...":‬ﺟﺎﺀ ﺻﻴﺎﺩ ﻋﺠﻮﺯ‬
‫ﻟﻴﺼﻄﺎﺩ" ﰒﹼ ﻳﻨﺘﻘﻞ ﺇﱃ ﻭﺻﻒ ﺩﺍﺧﻠﻲ ﳊﺎﻟﺔ ﺍﻟﺰﻭﺟﲔ ﺑﻌﺪ ﻓﺘﺤﻬﻤﺎ ﺍﳊﻘﻴﺒﺔ ﻭﺭﺅﻳﺘﻬﻤﺎ ﺍﻟﻄﻔﻠﲔ ﺑﻌﺒﺎﺭﺓ‬
‫"ﻓﻔﺮﺣﺎ ﻓﺮﺣﺎ ﺷﺪﻳﺪﺍ" ﻭﻭﺻﻒ ﺣﺎﻟﺔ ﺍﻟﺼﻴﺎﺩ ﺑﻌﺪ ﻋﻮﺩﺗﻪ ﻣﻦ ﺍﻟﺴﻮﻕ ﻗﺎﺋﻼ ‪":‬ﻓﻌﺎﺩ ﺍﻟﺼﻴﺎﺩ ﺣﺰﻳﻨﺎ ﺇﱃ‬
‫ﺑﻴﺘﻪ‪."...‬‬
‫ﻭﻣﻦ ﻣﻮﺍﻃﻦ ﺍﻟﻮﺻﻒ ﺍﳋﺎﺭﺟﻲ ﰲ ﺣﻜﺎﻳﺔ "ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ" ﻭﺻﻒ ﺍﻟﻮﻟـﺪﺍﻥ ﺑﻌـﺪ‬
‫ﻛﱪﳘﺎ ﺩﻭﻥ ﺗﻔﺠﲑ ﺍﻟﺘﻔﺎﺻﻴﻞ ‪":‬ﻭﺻﺎﺭﺕ ﺍﻟﺒﻨﺖ ﻓﺘﺎﺓ ﺷﺎﺑﺔ ﲨﻴﻠﺔ ﻭﺍﻟﻮﻟﺪ ﺻﺒﻴﺎ ﻳﺎﻓﻌﺎ"‪.‬‬
‫ﰒﹼ ﻳﻨﺘﻘﻞ ﺇﱃ ﻧﻮﻉ ﺁﺧﺮ ﻣﻦ ﺍﻟﻮﺻﻒ ﻧﺎﺗﺞ ﻋﻦ ﲢﻮﻻﺕ ﻛﺜﲑﺓ‪ ،‬ﻭﻓﻴﻪ ﻧﻮﻉ ﻣﻦ ﺍﳊﺮﻛﺔ ﻫـﻮ‬
‫ﻭﺻﻒ ﻟﻠﻬﻴﺌﺎﺕ ﺍﻟﱵ ﲢﻮﻝ ﺇﻟﻴﻬﺎ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻭﺍﺑﻦ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ‪":‬ﻭﰲ ﺗﻠﻚ ﺍﻟﻠﺤﻈﺔ ﲢﻮ‪‬ﻝ ﺍﳊﺼـﺎﻥ‬
‫ﺇﱃ ﲰﻜﺔ ﲡﺮﻱ ﰲ ﺍﻟﻮﺍﺩﻱ‪...‬ﻭﲢﻮﻝ ﺇﱃ ﲰﻜﺔ ﻛﺒﲑﺓ ﺗﺮﻳﺪ ﺃﻛﻞ ﺍﻟﺴﻤﻜﺔ ﺍﻟﺼﻐﲑﺓ‪...‬ﰒ ﲢﻮﻝ ﻏﻼﻡ‬
‫ﺍﻟﻠﻴﻞ ﺇﱃ ﻃﺎﺋﺮ ﰲ ﺍﻟﺴﻤﺎﺀ‪ ،‬ﻓﺘﺤﻮﻝ ﺍﺑﻦ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﺇﱃ ﻋﻘﺎﺏ‪...‬ﻓﺘﺤﻮﻝ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺇﱃ ﺧـﺎﰎ ﰲ‬
‫ﺃﺻﺒﻊ ﺃﺧﺘﻪ‪...‬ﻓﺘﺤﻮﻝ ﺇﱃ ﺣﺒﺔ ﺭﻣﺎﻥ ﻣﺘﻨﺎﺛﺮﺓ‪ ...‬ﻓﺘﺤﻮﻟﺖ ﺍﻟﻌﺠـﻮﺯ ﺇﱃ ﺩﻳـﻚ‪ ،‬ﻳﻨﻘـﺮ ﺣﺒـﺎﺕ‬
‫ﺍﻟﺮﻣﺎﻥ‪...‬ﻓﺘﺤﻮﻟﺖ ﺇﱃ ﺳﻜﲔ ﺫﺑﺢ ﺍﻟﺪﻳﻚ"‪.‬‬
‫ﻭﻣﻦ ﺍﻟﺸ‪‬ﺨﺼﻴﺎﺕ ﺍﻟﱵ ﰎﹼ ﻭﺻﻔﻬﺎ ﰲ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﺷﺨﺼﻴﺔ ﺍﻟﺸﻴﺦ ﺍﻟﺬﻱ ﺍﻟﺘﻘـﺎﻩ ﺍﻷﺧـﻮﺍﻥ‬
‫‪":‬ﻓﺎﻟﺘﻘﻴﺎ ﺷﻴﺨﺎ ﻛﺒﲑﺍ ﻳﻠﺒﺲ ﺍﻷﺑﻴﺾ"‪ ،‬ﻭﺷﺨﺼﻴﺔ ﺍﻷﻡ ﰲ ‪‬ﺎﻳﺔ ﺍﳊﻜﺎﻳﺔ ‪":‬ﺇﻻ ﺃﻧ‪‬ﻬﻢ ﺟﺎﺅﻭﺍ ﰲ ﺍﻟﻐﺪ‬
‫ﻭﱂ ﳛﻀﺮﻭﺍ ﻣﻌﻬﻢ ﺃﻡ ﺍﻷﻭﻻﺩ ﺍﻟﱵ ﺗﻌﻴﺶ ﻣﻊ ﺍﳊﻴﻮﺍﻧﺎﺕ"‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺈﻥ ﻫﺬﻩ ﺍﳌﻘﺎﻃﻊ ﺍﻟﻮﺻﻔﻴﺔ ﺷﻜﹼﻠﺖ ﰲ ﺍﳊﻘﻴﻘﺔ ﺩﻻﻻﺕ ﺟﺪ‪ ‬ﻫﺎﻣﺔ ﻋﻠﻰ ﺍﳌﻌﲎ ﰲ ﺣ ‪‬ﺪ‬
‫ﺫﺍﺗﻪ ﺩﻭﻥ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﻟﺘﺼﺮﻳﺢ ﺑﻪ‪ ،‬ﻛﺪﻻﻟﺔ ﺍﻟﻠﺒﺎﺱ ﺍﻷﺑﻴﺾ ﺍﻟﱵ ﺗﻮﺣﻲ ﺑﺎﻟﻮﻗﺎﺭ ﻭﺍﳊﺸﻤﺔ ﻭﺍﻟﺜﺒـﺎﺕ‬
‫ﻭﺣﺴﻦ ﺍﻟﻨﻴﺔ‪ ،‬ﻭﻋﺒﺎﺭﺓ "ﺍﻟﱵ ﺗﻌﻴﺶ ﻣﻊ ﺍﳊﻴﻮﺍﻧﺎﺕ" ﻭﻣﺎ ﲢﻤﻠﻪ ﻣـﻦ ﺩﻻﻻﺕ ﺍﳌﻌﺎﻧـﺎﺓ ﻭﺍﻟﺘـﻬﻤﻴﺶ‬
‫ﻭﺍﻟﻈﻠﻢ‪.‬‬
‫ﻛﻤﺎ ﻧﻠﻤﺢ ﰲ ﺣﻜﺎﻳﺔ "ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ" ﻧﻮﻋﺎ ﺁﺧﺮ ﻣﻦ ﺍﻟﻮﺻﻒ ﻭﻫﻮ ﻭﺻﻒ ﺍﻷﻣﺎﻛﻦ‬
‫ﻭﺍﻷﺷﻴﺎﺀ‪ ،‬ﺃﻣﺎ ﺍﻷﻭ‪‬ﻝ ﻓﻨﺠﺪﻩ ﰲ ﻭﺻﻒ ﺑﻴﺖ ﺍﻟﺼﻴﺎﺩ ﺍﻟﻌﺠﻮﺯ ﻭﺯﻭﺟﺘﻪ ﺑﻌﺪ ﺩﺧﻮﻝ ﺍﻻﺑـﻨﲔ ﺇﻟﻴـﻪ‬
‫‪":‬ﻓﺈﺫﺍ ﺑﺎﻟﺪﺍﺭ ﲤﺘﻠﺊ ﺿﻴﺎﺀًﺍ‪."...‬‬

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‫ﻭﻭﺻﻒ ﻗﺼﺮ ﺍﻷﺧﻮﻳﻦ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ ﰲ ﻗﻮﻟﻪ ‪...":‬ﻏﺮﺱ ﻏـﻼﻡ ﺍﻟﻠﻴـﻞ ﺍﻟﻌﺼـﺎ‬
‫ﺍﻟﺴﺤﺮﻳﺔ ﰲ ﺍﻷﺭﺽ ﻓﺘﺤﻮﻟﺖ ﺇﱃ ﻗﺼﺮ ﺯﺟﺎﺟﻲ ﻳﺸﻊ ﺿﻴﺎﺀًﺍ‪."...‬‬
‫ﺃﻣﺎ ﻭﺻﻒ ﺍﻷﺷﻴﺎﺀ ﻓﻨﺠﺪ ﻣﻮﺍﻃﻨﻪ ﰲ ﺍﳊﻜﺎﻳﺔ ﻣﻦ ﺧﻼﻝ ﲨﻠﺔ ﻣﻦ ﺍﻷﺷﻴﺎﺀ ﺍﻟـﱵ ﻃﻠﺒﺘـﻬﺎ‬
‫ﺳﺘ‪‬ﻮﺕ ﻣﻦ ﺟﺎﺯﻳﺔ ﰲ ﻗﻮﳍﺎ ‪":‬ﺍﻟﺘﻔﺎﺡ ﺍﻟﻠﻲ ﻳﻔـﻮﺡ‪ ،‬ﺍﻟﻠـﻲ ﻳـﺮﺩ ﺍﻟـﺮﻭﺡ‪ ،‬ﻭﻳﺮﺟـﻊ ﺍﻟﺸـﺎﻳﺐ‬
‫ﺷﺒﺎﺏ‪...‬ﺣﻠﻴﺐ ﺍﻟﻠﺒﺔ ﰲ ﺟﻠﺪ ﺍﻟﺸﺒﻞ ﻣﺮﺑﻮﻁ ﺑﺸﻼﻏﻢ ﺍﻟﺼﻴﺪ‪...‬ﻳﻨﻘﺼﻮﺍ ﳚﻴﺐ ﺟﺎﺯﻳﺔ ﺍﻟﻠﻲ ﺗﺼـﻮﻡ‬
‫ﻋﺎﻡ ﻭﺗﻔﻄﺮ ﻋﺎﻡ‪."...‬‬
‫ﻭﰲ ﻭﺻﻒ ﻋﺮﺑﺔ ﻏﻼﻡ ﺍﻟﻠﻴﻞ‪":‬ﻓﻘﺎﻡ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺑﺼﻨﻊ ﻋﺮﺑﺔ ﻭﻣﻸﻫﺎ ﺑﺎﳊﻠﻲ ﻭﺍﳉﻮﺍﻫﺮ ﺍﻟﺜﻤﻴﻨﺔ"‪.‬‬
‫ﻭﺑﺎﻻﻧﺘﻘﺎﻝ ﺇﱃ ﺍﳊﻜﺎﻳﺘﲔ ﺍﳌﺘﺒﻘﻴﺘﲔ ﳝﻜﻦ ﺃﻥ ﻧﻠﺨﺺ ﻣﻮﺍﻃﻦ ﺍﻟﻮﺻﻒ ﻓﻴﻬﻤﺎ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬
‫ﺃﻣﺎ ﺣﻜﺎﻳﺔ "ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ" ﻓﻘﺪ ﺍﻓﺘﺘﺤﻬﺎ ﺍﳊﺎﻛﻲ ﺑﺘﺼﻮﻳﺮ ﳎﻤﻞ ﻟﻌﺎﺋﻠﺔ ﻣﻴﺴﻮﺭﺓ ﻣﺆﻟﻔﺔ‬
‫ﻣﻦ ﺃﻡ ﻭﺯﻭﺟﻬﺎ ﻭﺳﺒﻌﺔ ﺃﺑﻨﺎﺀ ﺫﻛﻮﺭ‪.‬‬
‫ﻳﻨﺘﻘﻞ ﺍﳊﺎﻛﻲ ﺇﱃ ﺗﻘﺪﱘ ﺻﻮﺭﺓ ﻋﻦ ﺣﺎﻟﺔ ﺍﻷﻡ ﺍﻟﱵ ﻏﻤﺮ‪‬ﺎ ﺍﻟﺴﻌﺎﺩﺓ ﺑﻌﺪ ﲢﻘﻴـﻖ ﺃﻣﻨﻴﺘـﻬﺎ‬
‫ﻭﺇﳒﺎ‪‬ﺎ ﻟﺒﻨﺖ ‪":‬ﻭﺿﻌﺖ ﺍﻷﻡ ﲪﻠﻬﺎ ﻭﻛﺎﻧﺖ ﺑﻨﺘﺎ ﻓﻔﺮﺣﺖ ﺍﻷﻡ"‪.‬‬
‫ﻳﺘﻮﻟﹼﻰ ﺑﻌﺪ ﺫﻟﻚ ﺍﳊﺎﻛﻲ ﺗﻘﺪﱘ ﻭﺻﻒ ﻟﺒﻌﺾ ﺍﻟﺸ‪‬ﺨﺼﻴﺎﺕ ﻭﺫﻟﻚ ﺣﺴـﺐ ﻭﺭﻭﺩﻫـﺎ ﰲ‬
‫ﺍﳊﻜﺎﻳﺔ ﻛﺸﺨﺼﻴﺔ ﺍﳋﺎﺩﻣﺔ ﺍﻟﱵ ﻭﺻﻔﻬﺎ ﺑﺎﻟﺸﺮﻳﺮﺓ ﰲ ﻗﻮﻟﻪ ‪":‬ﻟﻜﻦ ﺍﳋﺎﺩﻣﺔ ﺍﻟﺸﺮﻳﺮﺓ ﺃﺑﺖ ﺃﻥ ﺗﺒﻠﻐﻬﻢ‬
‫ﺍﳊﻘﻴﻘﺔ" ﻭﺷﺨﺼﻴﺔ ﻭﺩﻋﺔ ﺍﻟﱵ ﲤﺜﻞ ﺍﻟﺸ‪‬ﺨﺼﻴﺔ ﺍﶈﻮﺭﻳﺔ ﰲ ﺍﳊﻜﺎﻳﺔ ‪":‬ﻭﻣﺮﺕ ﺍﻟﺴـﻨﲔ ﻭﺃﺻـﺒﺤﺖ‬
‫ﺍﻟﺒﻨﺖ ﺷﺎﺑﺔ ﲨﻴﻠﺔ ﺟﺪﺍ"‪.‬‬
‫ﺇﻥﹼ ﻣﺎ ﻳﻼﺣﻆ ﻋﻠﻰ ﺍﻟﻮﺻﻒ ﺍﻷﺧﲑ ﺃﻧ‪‬ﻪ ﻭﺻﻒ ﳎﻤﻞ ﻋﺎﻡ‪ ،‬ﺍﻛﺘﻔﻰ ﻓﻴﻪ ﺍﳊﺎﻛﻲ ﺑﺘﻮﻇﻴـﻒ‬
‫ﻋﺒﺎﺭﺓ "ﺷﺎﺑﺔ ﲨﻴﻠﺔ ﺟﺪﺍ" ﺩﻭﻥ ﺍﻟﺘﻮﻏﻞ ﰲ ﻣﻈﺎﻫﺮ ﺍﳉﻤﺎﻝ ﻣﻦ ﲨﻴﻊ ﻧﻮﺍﺣﻴﻬﺎ‪.‬‬

‫ﻭﺍﻷﻣﺮ ﻧﻔﺴﻪ ﻣﺘﻜﺮ‪‬ﺭ ﻣﻊ ﺑﻘﻴﺔ ﺍﳌﻘﺎﻃﻊ‪ ،‬ﻛﻮﺻﻒ ﻗﻄﻴﻊ ﺍﻹﺑﻞ ﺑﻘﻮﻟﻪ ‪...":‬ﻛﺎﻧـﺖ ﺗﻠﺘـ ‪‬‬
‫ﻒ‬
‫ﺣﻮﳍﺎ ﺍﻹﺑﻞ ﻭﻫﻲ ﺗﻐﲏ ﳍﺎ ﺍﻷﻏﻨﻴﺔ ﺍﻟﱵ ﺗﻐﻨﻴﻬﺎ ﻭﺍﻟﺪ‪‬ﺎ‪...‬ﻭﻛﺎﻥ ﻗﻄﻴﻊ ﺍﻹﺑﻞ ﻳﺰﺩﺍﺩ ﳓﺎﻟﺔ ﻣﺎ ﻋﺪﺍ ﺫﻟﻚ‬
‫ﺍﳉﻤﻞ ﺍﻷﺻﻢ"‪.‬‬
‫ﺇﻥﹼ ﻟﻠﺤﺎﻛﻲ ﺍﻟﺸﻌﱯ ﻃﺮﻳﻘﺘﻪ ﺍﻟﺒﺎﺭﻋﺔ ﰲ ﺭﺳﻢ ﻣﻼﻣﺢ ﺷﺨﺼﻴﺎﺗﻪ ﺩﺍﺧﻞ ﺍﻟﻌﻤﻞ ﺍﳊﻜﺎﺋﻲ ﺩﻭﻥ‬
‫ﺍﻟﺘﺼﺮﻳﺢ ﺑﺄﻧﻪ ﻳﺴﻌﻰ ﺇﱃ ﺗﻘﺪﱘ ﻭﺻﻒ ﻟﻠﺸ‪‬ﺨﺼﻴﺔ ﻭﻫﻮ ﻣﺎ ﻧﻠﻤﺤﻪ ﰲ ﺍﳌﻘﻄﻊ ﺍﻟﺘﺎﱄ ﻣـﻦ ﺍﻟﻘﺼ‪‬ـﺔ‬

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‫"ﻭﺟﻠﺲ ﲜﺎﻧﺒﻬﺎ ﳛﺪﺛﻬﺎ ﻭﺑﻴﻨﻤﺎ ﻫﻲ ﺗﺘﺄﻣﻞ ﰲ ﻭﺟﻬﻪ ﺭﺃﺕ ﺍﻟﺒﻘﻌﺔ ﺍﻟﺒﻴﻀﺎﺀ ﺍﻟﱵ ﺣﺪﺛﺘﻬﺎ ﻋﻨﻬﺎ ﻭﺍﻟﺪ‪‬ﺎ‬
‫ﻓﺄﺟﻬﺸﺖ ﺑﺎﻟﺒﻜﺎﺀ"‪.‬‬
‫ﻓﻘﺪ ﺍﺳﺘﻄﺎﻉ ﺍﳊﺎﻛﻲ ﻫﻨﺎ ﺃﻥ ﻳﻘﺪﻡ ﻣﻠﻤﺤﺎ ﻟﻸﺥ ﻣﻦ ﺧﻼﻝ ﺍﻟﺒﻘﻌﺔ ﺍﻟﺒﻴﻀـﺎﺀ ﰲ ﻭﺟﻬـﻪ‪،‬‬
‫ﻭﺫﻟﻚ ﻛﻠﹼﻪ ﰲ ﺇﻃﺎﺭ ﺳﻴﺎﻕ ﺍﳊﻜﻲ‪ ،‬ﻭﻫﺬﺍ ﻳﺜﺒﺖ ﺫﻟﻚ ﺍﻻﻟﺘﺤﺎﻡ ﺍﳊﺎﺻﻞ ﺑﲔ ﺍﻟﻮﺻﻒ ﻭﺍﻟﺴﺮﺩ ﺍﻟﹼﺬﻱ‬
‫ﻧﺸﺄ ﻋﻨﻪ ﻓﻀﺎﺀ ﺍﳊﻜﺎﻳﺔ‪.‬‬
‫ﻭﻣﻦ ﻣﻮﺍﻃﻦ ﺍﻟﻮﺻﻒ ﰲ ﺍﳊﻜﺎﻳﺔ ﻣﺎ ﺟﺎﺩ ﺑﻪ ﺍﳌﺪﺑ‪‬ﺮ ﻋﻠﻰ ﺍﻷﺥ ﰲ ﻃﺮﻳﻘﺔ ﲤﻴﻴﺰ ﻭﺩﻋﺔ ﻣـﻦ‬
‫ﻏﲑﻫﺎ ﻗﺎﺋﻼ ‪":‬ﺷﻮﻑ ﺷﻌﺮﻫﻢ ﻭﻟﹼﻲ ﺷﻌﺮﻫﺎ ﺭﻃﺐ ﻛﻠﺤﺮﻳﺮ ﻭﻃﻮﻳﻞ ﺃﻋﺮﻓﻬﺎ ﺑﻠﻲ ﺭﺍﻫﻲ ﺍﺧﺘـﻚ ﻭﱄ‬
‫ﺷﻌﺮﻫﺎ ﺧﺸﲔ ﻭﺍﺣﺮﺵ ﻭﺻﻐﲑ ﻣﺎﻫﻴﺶ ﺍﺧﺘﻚ"‪.‬‬
‫ﺇﻥﹼ ﺑﺮﺍﻋﺔ ﺍﳊﺎﻛﻲ ﺍﻟﺸﻌﱯ ﺗﺜﺒﺘﻬﺎ ﲨﻠﺔ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻣﻨﻬﺎ ﺣﺴﻦ ﺍﺳﺘﺨﺪﺍﻣﻪ ﻟﻠﻮﺳﺎﺋﻞ ﺍﻟﻔﻨﻴـﺔ‬
‫ﺃﺛﻨﺎﺀ ﻧﺴﺠﻪ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻛﺎﻟﻮﺻﻒ ﻣﺜﻼ ﺍﻟﹼﺬﻱ ﻋﺮﺽ ﺑﻪ ﺍﻟﺮﺍﻭﻱ ﰲ ﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ ﺻﻮﺭﺓ ﺃﻛﺜﺮ‬
‫ﺣﻘﻴﻘﺔ ﻭﺣﻴﻮﻳﺔ ﻭﻛﻤﺎﻻ ﻣﻦ ﺍﳊﻘﻴﻘﺔ ﻧﻔﺴﻬﺎ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺻﻮﺭﺓ ﺍﻟﻈﻠﻢ ﻭﻣﺎ ﻳﻨﺘﺞ ﻋﻨﻪ ﻣـﻦ ﺃﱂ ﻭﻣﻌﺎﻧـﺎﺓ‪،‬‬
‫ﻧﺘﻴﺠﺔ ﺳﻴﻄﺮﺓ ﻗﻮﻯ ﺍﻟﺸﺮ ﻋﻠﻰ ﻗﻠﻮﺏ ﻭﻋﻘﻮﻝ ﺍﻟﺒﺸﺮ "ﻓﺒﻘﻴﺖ ﻭﺩﻋﺔ ﻫﻨﺎﻙ ﺗﺼﺎﺭﻉ ﺍﻷﱂ ﻭﺍﳉـﻮﻉ‬
‫ﺑﻌﺪ ﺃﻥ ﺍﻧﺘﻬﻰ ﺯﺍﺩﻫﺎ"‪.‬‬
‫ﻭﻣﻦ ﺍﳌﻘﺎﻃﻊ ﺍﻟﻮﺻﻔﻴﺔ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﺍﳊﻜﺎﻳﺔ ﺫﻟﻚ ﺍﳌﻘﻄﻊ ﺍﳌﺘﻌﻠﻖ ﺑﻮﺻﻒ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺧﻠﹼﺺ‬
‫‪‬ﺎ ﺍﻟﻔﺎﺭﺱ ﻭﺩﻋﺔ ﻣﻦ ﺍﻷﻓﺎﻋﻲ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﺑﻄﻨﻬﺎ ﺣﻴﺚ ﻳﻘﻮﻝ ﺍﳊﺎﻛﻲ ‪":‬ﻓﺬﺑﺢ ﳍﺎ ﻏﺰﺍﻻ ﻛﺎﻥ ﻗﺪ‬
‫ﺍﺻﻄﺎﺩﻩ ﻓﻄﻬﺎﻩ ﻭﺟﻌﻠﻪ ﻛﺜﲑ ﺍﳌﻠﻮﺣﺔ‪ ،‬ﰒﹼ ﺃﻃﻌﻤﻬﺎ ﺇﻳﺎﻩ‪ ،‬ﻓﺎﺷﺘﺪ‪ ‬ﺑﺎﻷﻓﺎﻋﻲ ﺍﻟﻌﻄﺶ ﰲ ﺑﻄﻦ ﻭﺩﻋـﺔ‪،‬‬
‫ﺍﻷﻣﺮ ﺍﻟﹼﺬﻱ ﺟﻌﻞ ﻭﺩﻋﺔ ﺗﻄﻠﺐ ﺍﳌﺎﺀ ﻭﺑﺸﺪﺓ‪ ،‬ﻋﻨﺪﺋﺬ‪ ‬ﻭﺿﻌﻬﺎ ﺍﻟﻔﺎﺭﺱ ﻓﻮﻕ ﺣﺼﺎﻧﻪ ﻋﻠﻰ ﺑﻄﻨـﻬﺎ‪،‬‬
‫ﻭﻭﺿﻊ ﺃﻣﺎﻡ ﺭﺃﺳﻬﺎ ﺣﻔﺮﺓ ﻭﻣﻸﻫﺎ ﺑﺎﳌﺎﺀ‪ ،‬ﰒﹼ ﺃﺧﺬ ﳛﺮﻙ ﺍﳌﺎﺀ ﺑﻴﺪﻩ ﻭﻳﻄﻠﺐ ﻣﻦ ﻭﺩﻋﺔ ﺃﻥ ﺗﻔﺘﺢ ﻓﻤﻬﺎ‪،‬‬
‫ﻓﺄﺧﺬﺕ‬
‫ﺍﻟﺜﻌﺎﺑﲔ ﺗﺘﺤﺴﺲ ﺍﳌﺎﺀ‪ ،‬ﻭﲣﺮﺝ ﺍﻟﻮﺍﺣﺪﺓ ﺗﻠﻮ ﺍﻷﺧﺮﻯ ﻭﺍﻟﻔﺎﺭﺱ ﻳﻘﻄﻊ ﺭﺃﺳﻬﺎ ﺑﺴﻴﻔﻪ ﺣﱴ ﲣﻠـﺺ‬
‫ﻣﻨﻬﺎ ﻛﻠﻬﺎ"‪.‬‬
‫ﺇﻥ ّﻫﺬﺍ ﺍﳌﻘﻄﻊ ﺍﳊﻜﺎﺋﻲ ﺍﻟﻮﺻﻔﻲ ﺍﻟﺴ‪‬ﺮﺩﻱ ﻳﻌﻜﺲ ﺑﺼﺪﻕ ﻣﺎ ﺟﺎﺀ ﺑـﻪ ﻓﻠـﻮﺑﲑ ﻣـﻦ ﺃﻥ‬
‫"ﺍﻟﻮﺻﻒ ﻻ ﻳﺄﺕ ﺑﻼ ﻣﱪﺭ ﺑﻞ ﺇﻥﹼ ﻛﻞﹼ ﻣﻘﻄﻊ ﻣﻦ ﻣﻘﺎﻃﻌﻪ ﳜﺪﻡ ﺑﻨﺎﺀ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻭﻟﻪ ﺃﺛﺮ ﰲ ﺗﻄﻮﻳﺮ‬
‫) ‪(1‬‬
‫ﺍﳊﺪﺙ ﻭﻫﻜﺬﺍ ﻳﻜﺘﻤﻞ ﺍﻟﻨ‪‬ﺺ ﺍﻟﺮ‪‬ﻭﺍﺋﻲ"‪.‬‬

‫)‪ (1‬ﺳﻴﺰﺍ ﺃﲪﺪ ﻗﺎﺳﻢ‪ :‬ﺑﻨﺎﺀ ﺍﻟﺮ‪‬ﻭﺍﻳﺔ‪ ،‬ﺩﺭﺍﺳﺔ ﻣﻘﺎﺭﻧﺔ ﰲ ﺛﻼﺛﻴﺔ ﳒﻴﺐ ﳏﻔﻮﻅ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪ ،1985 ،1‬ﺹ‪.82‬‬
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‫ﻳﻠﻌﺐ ﺍﻟﻮﺻﻒ ﻛﻮﺳﻴﻠﺔ ﻓﻨ‪‬ﻴﺔ ﺩﻭﺭﺍ ﻫﺎﻣﺎ ﰲ ﻋﺮﺽ ﻗﻮﻯ ﺍﳋﲑ ﻭﺍﻟﺸﺮ ﻭﻣﻈﺎﻫﺮﻫﺎ ﻭﺍﻟﺼﺮﺍﻉ‬
‫ﺑﻴﻨﻬﻤﺎ ﻭﺍﻧﻌﻜﺎﺳﺎﺕ ﻫﺬﺍ ﺍﻟﺼﺮﺍﻉ‪ ،‬ﻭﻫﻮ ﻣﺎ ﺗﺜﺒﺘﻪ ﺍﳌﻘﺎﻃﻊ ﺍﻟﻮﺻﻔﻴﺔ ﺍﻷﺧﲑﺓ ﻣﻦ ﺣﻜﺎﻳﺔ "ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ‬
‫ﺳﺒﻌﺔ" ﺇﱃ ﺃﻥ ﺍﻧﺘﻬﻰ ﺍﻟﺼﺮﺍﻉ ﺑﺎﻧﺘﺼﺎﺭ ﺍﳋﲑ ﻭﺯﻭﺍﻝ ﺍﻟﺸﺮ‪.‬‬
‫ﻛﺎﳌﻘﻄﻊ ﺍﻟﻮﺻﻔﻲ ﺍﻟﹼﺬﻱ ﻳﺮﺳﻢ ﺣﺎﻟﺔ ﺍﻷﺥ ‪":‬ﻭﺫﺍﺕ ﻳﻮﻡ ﺟﺎﺀ ﺃﺧﻮﻫﺎ ﺍﻷﻛﱪ ﻳﻄﻠﺐ ﺍﻟﺮﺯﻕ‬
‫ﻭﻫﻮ ﻋﻠﻰ ﻫﻴﺌﺔ ﲢﺰﻥ ﺍﻟﻘﻠﺐ‪."...‬‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﳌﻘﻄﻊ ﺍﻷﺧﲑ ﺍﻟﹼﺬﻱ ﻳﺮﺳﻢ ﺍﳊﺎﻟـﺔ ﺍﻟﻨﻬﺎﺋﻴـﺔ ﻟﻠﺤﻜﺎﻳـﺔ ﺑﻌـﺪ ﺃﻥ ﺍﻟـﺘﻢ‪‬‬
‫ﺍﻟﺸﻤﻞ‪":‬ﺍﻟﺘﻘﻰ ﺍﻷﺥ ﺑﺄﺧﺘﻪ‪...‬ﻓﻌﺎﻗﺐ ﺍﻟﻨﺴﻮﺓ ﻭﻃﺮﺩﻫﻢ ﻭﺃﳊﻖ ﺑﺴﺘﻮﺕ ﻋﻘﺎﺑﺎ ﺷﺪﻳﺪﺍ‪ ،‬ﻭﻋﺎﺷﻮﺍ ﺣﻴﺎﺓ‬
‫ﺳﻌﻴﺪﺓ"‪.‬‬
‫ﺃﻣﺎ ﺍﳊﻜﺎﻳﺔ ﺍﻷﺧﲑﺓ ﻭﻫﻲ ﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ‪ ،‬ﻓﻘﺪ ﲤﻴ‪‬ﺰﺕ ﺑﻀﺂﻟﺔ ﻣﻘﺎﻃﻌﻬﺎ ﺍﻟﻮﺻـﻔﻴﺔ‬
‫ﻭﻣﻦ ﺫﻟﻚ ﺍﳌﻘﻄﻊ ﺍﻟﻮﺍﺭﺩ ﰲ ﺑﺪﺍﻳﺔ ﺍﳊﻜﺎﻳﺔ ﻭﺍﻟﹼﺬﻱ ﻳﺼﻮﺭ ﺣﺎﻟﺔ ﺍﻟﻐﺮﻭﺭ ﺍﻟﹼﱵ ﺳﻴﻄﺮﺕ ﻋﻠﻰ ﺍﻟـﺬﺋﺐ‬
‫ﺑﻌﺪ ﺗﻌﺮﻓﻪ ﻋﻠﻰ ﻋﺪﺩ ﺣﻴﻞ ﺍﻟﻘﻨﻔﺬ‪":‬ﻋﻨﺪﺋﺬ‪ ‬ﺷﻌﺮ ﺍﻟﺬﺋﺐ ﺑﺎﻟﻐﺮﻭﺭ ﻭﺍﻟﻔﺮﺡ ﺑﺎﳊﻴـﻞ ﺍﻟﻜـﺜﲑﺓ ﺍﻟـﱵ‬
‫ﳝﺘﻠﻜﻬﺎ‪ ،‬ﻭﺍﺳﺘﺼﻐﺮ ﺍﻟﻘﻨﻔﺪ ﺍﻟﺬﻱ ﻻ ﳝﻠﻚ ﻋﺪﺍ ﺣﻴﻠﺔ ﻭﺍﺣﺪﺓ‪."...‬‬
‫ﻛﻤﺎ ﻧﻠﻤﺢ ﻣﻘﻄﻌﲔ ﺁﺧﺮﻳﻦ ﺍﻷﻭ‪‬ﻝ ﻣﺘﻌﻠﻖ ﺑﻮﺻﻒ ﺍﻟﺴﻮﻕ ﺍﳌﻔﺘﻌﻠﺔ ﺍﻟﱵ ﺭﲰﻬﺎ ﺍﻟﻘﻨﻔﺪ ﻟﻠﺬﺋﺐ‬
‫ﰲ ﻗﻮﻟﻪ ‪":‬ﻫﺬﺍ ﺭﺍﻩ ﺳﻮﻕ ﻣﻌﻤﺮ ﻧﻌﺎﺝ ﻭﺧﺮﺍﻑ ﻭﻛﺒﺎﺵ ﻭﻣﺎﻋﺰ‪ ،‬ﻭﺍﻟﻨﺎﺱ ﺭﺍﻫﻲ ﺗﺒﻴﻊ ﻭﺗﺸﺮﻱ‪ ،‬ﺃﳊﻖ‪،‬‬
‫ﺍﻟﺴﻮﻕ ﺭﺍﻩ ﻣﺪﻭ‪‬ﺩ ﻭﺍﺣﺪ ﻃﺎﻟﻊ ﻭﻻﺧﺮ ﻣﻬﻮ‪‬ﺩ"‪.‬‬
‫ﻭﺍﳌﻘﻄﻊ ﺍﻟﻮﺻﻔﻲ ﺍﻵﺧﺮ ﻳﻮﺿﺢ ﺣﺎﻟﺔ ﺍﳉﻮﻉ ﺍﻟﱵ ﺳﻴﻄﺮﺕ ﻋﻠﻰ ﺍﻟـﺬﺋﺐ ﻣـﻦ ﺧـﻼﻝ‬
‫ﻗﻮﻟﻪ‪":‬ﻋﻨﺪﻱ ﺃﻛﺜﺮ ﻣﻦ ﲰﺎﻧﺔ ﻣﺎ ﴰﻴﺘﺶ ﻓﻴﻬﺎ ﺭﳛﺔ ﺍﻟﻠﺤﻢ‪."...‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥ ﺍﳌﻘﺎﻃﻊ ﺍﻟﻮﺻﻔﻴﺔ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺜﻼﺛﺔ ﺍﻟﺴﺎﻟﻔﺔ ﺍﻟﺬﻛﺮ ﲤﻴ‪‬ﺰﺕ ﰲ ﳎﻤﻠﻬﺎ‬
‫ﺑﺎﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺇﺑﺮﺍﺯ ﺃﳘﻴﺔ ﺍﳌﻮﺻﻮﻑ‪ ،‬ﻭﺫﻛﺮﻩ ﺑﺈﺷﺎﺭﺓ ﻋﻤﻮﻣﻴﺔ ﳎﻤﻠﺔ ﺩﻭﻥ ﲡﺰﺋﺔ ﺃﻭ ﺗﻔﺼﻴﻞ ﻛﻤﺎ ﺃﻥ‬
‫ﺍﳊﺎﻛﻲ ﱂ ﻳﺘﻮﻏﻞ ﺩﺍﺧﻞ ﺍﻷﻣﺎﻛﻦ ﻛﺎﻟﻘﺼﺮ ﻣﺜﻼ ﻭﺍﻟﺒﻴﺖ ﻟﻴﺼﻒ ﻋﻨﺎﺻﺮﻫﺎ ﺑﺸﻜﻞ ﻭﺍﰲ ﻣﻦ ﺃﺛـﺎﺙ‬
‫ﻭﺣﺠﺮﺍﺕ‪ ،‬ﻭﺃﺩﻭﺍﺕ ﻭﻏﲑﻫﺎ ﺑﻞ ﺍﻛﺘﻔﻰ ﺑﺬﻛﺮ ﺍﳌﻔﺮﺩﺍﺕ ﰲ ﺻﻴﻐﺘﻬﺎ ﺍﻟﺸﺎﻣﻠﺔ‪.‬‬
‫ﻭﻟﻜﻦ ﻫﺬﺍ ﻻ ﳝﻨﻌﻨﺎ ﻣﻦ ﺍﻹﻗﺮﺍﺭ ﺑﺄﻥ ﺍﻟﻮﺻﻒ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ﱂ ﻳﻜﻦ ﳎﺮﺩ ﺩﻳﻜـﻮﺭ‬
‫ﺗﺰﻳﻴﲏ‪ ،‬ﺑﻞ ﻣﺜﹼﻞ ﻭﺳﻴﻠﺔ ﻏﻨﻴﺔ ﻭﺗﻘﻨﻴﺔ ﺗﻌﺒﲑﻳﺔ ﺑﻴﺪ ﺍﳊﺎﻛﻲ‪ ،‬ﺃﺩ‪‬ﺕ ﻭﻇﻴﻔﺔ ﲨﺎﻟﻴﺔ "ﻭﻓﻴﻬﺎ ﻗﺎﻡ ﺍﻟﻮﺻـﻒ‬
‫ﺑﻌﻤﻞ ﲨﺎﱄ ﺗﺰﻳﻴﲏ ﻭﻫﻮ ﻳﺸﻜﻞ ﺍﺳﺘﺮﺍﺣﺔ ﰲ ﻭﺳﻂ ﺍﻷﺣﺪﺍﺙ ﻭﻳﻜﻮﻥ ﻭﺻﻔﺎ ﺧﺎﻟﺼﺎ ﻻ ﺿﺮﻭﺭﺓ ﻟﻪ‬
‫) ‪(1‬‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﺪﻻﻟﺔ ﺍﳊﺎﻛﻲ"‪.‬‬

‫)‪ (1‬ﲪﻴﺪ ﳊﻤﻴﺪﺍﱐ‪ :‬ﺑﻨﻴﺔ ﺍﻟﻨ‪‬ﺺ ﺍﻟﺴ‪‬ﺮﺩﻱ‪ ،‬ﺹ‪.79‬‬

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‫ﻭﻭﻇﻴﻔﺔ ﺗﻮﺿﻴﺤﻴﺔ ﺃﻭ ﺗﻔﺴﲑﻳﺔ ﻭﻓﻴﻬﺎ ﻳﻜﻮﻥ "ﻟﻠﻮﺻﻒ ﻭﻇﻴﻔﺔ ﺭﻣﺰﻳﺔ ﺩﺍﻟﺔ ﻋﻠﻰ ﻣﻌﲎ ﻣﻌﲔ‬
‫ﰲ ﺇﻃﺎﺭ ﺳﻴﺎﻕ ﺍﳊﻜﻲ ﺣﻴﺚ ﻳﻜﻮﻥ ﺍﳌﻌﲎ ﳏﺪﺩﺍ ﻟﻠﻮﺻﻒ ﺍﻟﹼﺬﻱ ﻳﺄﰐ ﺑﻌﺪﻩ ﺃﻭ ﺃﻥ ﻳﺴﺒﻖ ﺍﻟﻮﺻـﻒ‬
‫) ‪(1‬‬
‫ﻣﻌﲎ ﻣﻦ ﺍﳌﻌﺎﱐ ﺍﻟﻀﺮﻭﺭﻳﺔ ﰲ ﺳﻴﺎﻕ ﺍﳊﻜﻲ"‪.‬‬

‫)‪ (1‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.74‬‬

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 ‫‪ -2‬ﺍﻟﺴـﺮﺩ ‪:‬‬
‫ﺇﻥ ﻧﺺ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻳﻌﺘﻤﺪ ﰲ ﺑﻨﺎﺋﻪ ﻭﺗﻜﻮﻳﻨﻪ ﻋﻠﻰ ﲨﻠﺔ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﻻ ﳝﻜﻦ ﺇﺳﻘﺎﻃﻬﺎ‬
‫ﺃﻭ ﺇﳘﺎﻝ ﺃﻱ‪ ‬ﻋﻨﺼﺮ ﻣﻨﻬﺎ‪ ،‬ﻳﺄﰐ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﻋﻨﺼﺮ ﺍﻟﺴﺮﺩ‪.‬‬
‫ﺍﻟﺴﺮﺩ ﰲ ﺃﹰﺻﻞ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻫﻮ "ﺗﺘﺎﺑﻊ ﺍﳌﺎﺿﻲ ﻋﻠﻰ ﺳﲑﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﻭﺳﺮﺩ ﺍﳊﺪﻳﺚ ﻭﺍﻟﻘﺮﺍﺀﺓ‬
‫ﻣﻦ ﻫﺬﺍ ﺍﳌﻨﻄﻠﻖ ﺍﻻﺷﺘﻘﺎﻗﻲ‪ ،‬ﰒ ﺃﺻﺒﺢ ﺍﻟﺴﺮﺩ ﻳﻄﻠﻖ ﰲ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻘﺼﺼﻴﺔ ﻋﻠﻰ ﻛﻞ ﻣﻦ ﺧﺎﻟﻒ‬
‫ﺍﳊﻮﺍﺭ‪ ،‬ﰒ ﱂ ﻳﻠﺒﺚ ﺃﻥ ﺗﻄﻮﺭ ﰲ ﺃﻳﺎﻣﻨﺎ ﻫﺬﻩ‪....‬ﲝﻴﺚ ﺃﺻﺒﺢ ﻳﻄﻠﻖ ﻋﻠﻰ ﺍﻟﻨﺺ ﺍﳊﻜﺎﺋﻲ ﺃﻭ ﺍﻟﺮﻭﺍﺋﻲ‬
‫ﺃﻭ ﺍﻟﻘﺼﺼﻲ ﺑﺮﻣﺘﻪ ﻟﻜﺄﻧ‪‬ﻪ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﳜﺘﺎﺭﻫﺎ ﺍﻟﺮﺍﻭﻱ ﺃﻭ ﺍﻟﻘﺎﺹ ﺍﳌﺒﺪﻉ ﺍﻟﺸﻌﱯ)ﺍﳊﺎﻛﻲ( ﻟﻴﻘﺪﻡ ‪‬ﺎ‬
‫ﺍﳊﺪﺙ ﺇﱃ ﺍﳌﺘﻠﻘﻲ")‪.(1‬‬
‫ﻓﺎﻟﺴﺮﺩ ﻣﻜﻮ‪‬ﻥ ﺃﺳﺎﺳﻲ ﻟﻠﻌﻤﻠﻴﺔ ﺍﻟﺴﺮﺩﻳﺔ‪ ،‬ﻷﻧﻪ ﻳﻘﻮﻡ ﻋﻠﻰ ﻧﺴﺞ ﺍﻟﻜﻼﻡ ﰲ ﺻﻮﺭﺓ ﺣﻜﻲ‪،‬‬
‫ﺃﻣﺎ ﺍﻟﺴﺎﺭﺩ‪ ،‬ﻓﻬﻮ ﺍﳌﺘﺤﺪ‪‬ﺙ‪ ،‬ﰲ ﺣﲔ ﲤﺜﻞ ﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﺘﺤﺪ‪‬ﺙ ﻋﻨﻪ ﻭﺍﳌﺘﻠﻘﻲ ﺍﳌﺘﺤﺪ‪‬ﺙ ﺇﻟﻴﻪ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﺍﻟﺴﺮﺩ ﰲ ﺣﻜﺎﻳﺎﺗﻨﺎ ﺍﳌﺨﺘﺎﺭﺓ‪ ،‬ﺍﻋﺘﻤﺪ ﻋﻠﻰ ﺍﻟﺬﺍﺕ ﺍﳌﺘﻜﻠﻤﺔ‪ ،‬ﺃﻭ ﻣﺎ ﻧﺴﻤﻴﻬﺎ ﺑﺎﳊﺎﻛﻲ‬
‫ﺃﻭ ﺍﻟﺮﺍﻭﻱ‪ ،‬ﺣﻴﺚ ﻳﻌﻤﺪ ﻫﺬﺍ ﺍﻷﺧﲑ ﰲ ﺍﻟﺒﺪﺍﻳﺔ ﺇﱃ ﻭﺿﻊ ﺇﻃﺎﺭ ﺯﻣﲏ ﳏﺪ‪‬ﺩ ﻟﺴﺮﺩﻩ‪ ،‬ﳑﺜﻼ ﰲ ﺍﻟﺰﻣﻦ‬
‫ﺍﳌﺎﺿﻲ‪ ،‬ﻭﺫﻟﻚ ﺑﺼﻴﻐﺔ ﻣﻌﺮﻭﻓﺔ ﻫﻲ "ﳛﻜﻰ ﰲ ﻗﺪﱘ ﺍﻟﺰﻣﺎﻥ ﺃﻥ ﻣﻠﻜﺎ ﻣﻦ ﺍﳌﻠﻮﻙ‪ ، "...‬ﻛﻤﺎ ﳒﺪ‬
‫ﺻﻴﻐﺔ ﺃﺧﺮﻯ ﰲ ﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ ﻫﻲ ﺍﻷﺧﺮﻯ ﲢﻤﻞ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻰ ﺍﳌﺎﺿﻲ )ﺣﺎﺟﻴﺘﻚ‬
‫ﻣﺎﺟﻴﺘﻚ ﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﺍﻟﺘﻘﻰ ﺍﻟﺬﺋﺐ ﺑﺎﻟﻘﻨﻔﺪ‪.(....‬‬
‫ﺇﻥﹼ ﻣﺎ ﻳﻼﺣﻆ ﻋﻠﻰ ﺍﳋﻄﺎﺏ ﺍﻟﺴﺮﺩﻱ ﰲ ﺣﻜﺎﻳﺘﻨﺎ ﺍﻟﺜﻼﺛﺔ ﺍﺭﺗﺒﺎﻃﻪ ﺑﺎﻟﻐﺎﺋﺐ ﺇﲨﺎﻻ ﻛﻘﻮﻝ‬
‫ﺍﻟﺮﺍﻭﻱ )ﻓﺘﺮﻛﺖ ﻫﻲ ﺍﻷﺧﺮﻯ‪ ،‬ﺟﺎﺀ ﺻﻴﺎﺩ ﻋﺠﻮﺯ ﻟﻴﺼﻄﺎﺩ‪ ،‬ﲢﻮﻝ ﺇﱃ ﺣﺼﺎﻥ‪ ،‬ﺭﻛﺐ ﺍﻟﻮﻟﺪﺍﻥ‬
‫ﻭﻏﺎﺩﺭﺍ‪ ،‬ﻓﺄﻣﺴﻚ ﺍﻟﻮﻟﺪ ﺑﺎﻟﻌﺼﺎ‪/....‬ﻋﻨﺪﺋﺬ ﺷﻌﺮ ﺍﻟﺬﺋﺐ ﺑﺎﻟﻐﺮﻭﺭ‪ ،‬ﰒ ﲪﻞ ﺍﻟﻘﻨﻔﺪ ﺑﻴﺪﻩ‬
‫ﻭﺭﻣﺎﻩ‪/...‬ﻛﺎﻧﺖ ﻗﺮﺏ ﺍﻟﻨﻬﺮ‪ ،‬ﻓﻘﺮﺭﺕ ﻭﺩﻋﺔ‪ ،‬ﺧﺮﺝ ﺃﺧﻮﻫﺎ ﺍﻷﻛﱪ‪ ،‬ﺍﻟﺘﻘﻰ ﺍﻷﺥ ﺑﺄﺧﺘﻪ ‪. ( ...‬‬
‫ﻛﻤﺎ ﻧﻠﻤﺢ ﰲ ﺑﻌﺾ ﺍﳌﻘﺎﻃﻊ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﲢﻮﻻ ﻟﻠﺨﻄﺎﺏ ﺍﻟﺴﺮﺩﻱ ﻣﻦ ﺍﻟﻐﺎﺋﺐ ﺇﱃ‬
‫ﺍﳌﺘﻜﻠﻢ ﻛﻘﻮﻝ ﺍﻟﺮﺍﻭﻱ ﰲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ "ﻭﻛﺎﻧﺖ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﻦ‪ ‬ﺗﻘﻮﻝ‪ :‬ﺇﺫﺍ‬
‫ﺗﺰﻭﺟﺖ ﺍﳌﻠﻚ ﻧﺪﻳﺮ ﻛﺬﺍ ﻭﻛﺬﺍ‪ ،‬ﻓﻘﺎﻟﺖ ﺍﻷﻭﱃ‪ :‬ﻣﻦ ﺣﺒﺔ ﻗﻤﺢ ﻧﺪﻳﺮ ﻣﻴﻌﺎﺩ‪ ،‬ﻭﻗﺎﻟﺖ ﺍﻟﺜﺎﻧﻴﺔ‪ :‬ﻣﻦ‬
‫ﺟﺰﺓ ﺻﻮﻑ ﻧﺪﻳﺮ ﺑﺮﻧﻮﺱ‪ ،‬ﻭﻗﺎﻟﺖ ﺍﻟﺜﺎﻟﺜﺔ ﻣﻦ ﺟﻠﺪ ﺑﻮﺳﻜﺮﺓ ﻧﺒﲏ ﺩﺍﺭ ‪ ...‬ﻭﻫﻜﺬﺍ"‪ ،‬ﺃﻭ ﻛﻘﻮﻟﻪ ﰲ‬
‫ﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ" ﺃﻋﻄﺎﻭﱐ ﻛﺬﺍ ﻭﻛﺬﺍ "‪.‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺃﻟﻒ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ ‪ ،‬ﺹ‪84،83‬‬

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‫ﻓﻌﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﺤﻮﻝ ﰲ ﺻﻴﻐﺔ ﺍﳋﻄﺎﺏ ﺍﻟﺴﺮﺩﻱ ﺇﻻ ﺃﻥ ﺍﻟﺼﻴﻐﺔ ﺍﻟﻐﺎﻟﺒﺔ ﻓﻴﻪ ﺩﺍﺋﻤﺎ‬
‫ﻫﻲ ﺍﻟﻐﺎﺋﺐ ﺑﺎﻋﺘﺒﺎﺭ ﺃﻥ ﺍﳊﺎﻛﻲ ﻣﺎ ﻫﻮ ﺇﻻ ﻧﺎﻗﻞ ﻷﺣﺪﺍﺙ ﻣﺎﺿﻴﺔ ﻭﻣﺘﺤﺪ‪‬ﺙ ‪‬ﺎ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻳﺒﺪﺃ ﺍﻟﺮﺍﻭﻱ ﰲ ﺳﺮﺩ ﺃﺣﺪﺍﺙ ﺣﻜﺎﻳﺘﻪ ﺇﱃ ﺃﻥ ﻳﺼﻞ ﺇﱃ ﻧﻘﻄﺔ ﻣﻌﻴﻨﺔ ﻳﺸﺘﺪ‪ ‬ﻓﻴﻬﺎ‬
‫ﺍﻟﺼﺮﺍﻉ ﺃﻭ ﺍﻟﺘﺄﺯﻡ ﻭﻫﻮ ﻣﺎ ﻳﻌﺮﻑ ﺑﺎﻟﻌﻘﺪﺓ ﺍﻟﱵ ﻫﻲ ﺿﺮﻭﺭﻳﺔ ﻹﻧﺘﺎﺝ ﺍﻟﺘﺄﺛﲑ‪.‬‬
‫ﻓﻔﻲ ﺣﻜﺎﻳﺎﺗﻨﺎ ﺍﳌﺨﺘﺎﺭﺓ ﳒﺪ ﺃﺣﺪﺍﺛﻬﺎ ﺗﺘﺄﺯﻡ ﻭﺗﺘﺸﺎﺑﻚ ﻟﺘﺼﻞ ﺇﱃ ﺩﺭﺟﺔ ﻣﻦ ﺍﻟﺘﺸﻮﻳﻖ ﻳ‪‬ﻨﺘﻈﺮ‬
‫ﻓﻴﻬﺎ ﺍﳊﻞ ﺑﺸﻐﻒ ﻭﻋﻠﻴﻪ ﺃﻣﻜﻨﻨﺎ ﲢﺪﻳﺪ ﻣﺴﺎﺭﻫﺎ ﺍﻟﺴﺮﺩﻱ‪ ،‬ﻣﻦ ﺧﻼﻝ ﺗﻘﺴﻴﻢ ﺧﻄﺎ‪‬ﺎ ﺇﱃ ﺛﻼﺛﺔ‬
‫ﺃﻗﺴﺎﻡ)‪ (1‬ﻫﻲ‬
‫‪ – (1‬ﺍﳌﻮﻗﻒ ﺍﻻﻓﺘﺘﺎﺣﻲ‪.‬‬
‫‪ - (2‬ﺍﳌﱳ‪.‬‬
‫‪ - (3‬ﺍﳌﻮﻗﻒ ﺍﳋﺘﺎﻣﻲ‪.‬‬
‫ﻭﺳﻨﺤﺎﻭﻝ ﺃﻥ ﻧﻄﺒﻖ ﺍﻷﻣﺮ ﻋﻠﻰ ﺣﻜﺎﻳﺔ" ﺍﻟﺬﻳﺐ ﻭ ﺍﻟﻘﻨﻔﻮﺩ"‪.‬‬
‫ﺃﻣ‪‬ﺎ ﺍﳌﻮﻗﻒ ﺍﻻﻓﺘﺘﺎﺣﻲ‪ ،‬ﻓﻘﺪ ﻋﺮﻑ ﻫﺪﻭﺀ ﻧﺴﺒﻴﺎ ﻧﺘﺞ ﻋﻦ ﺍﻟﺘﻘﺎﺀ ﺣﻴﻮﺍﻧﲔ ﳘﺎ ﺍﻟﺬﺋﺐ ﻭﺍﻟﻘﻨﻔﺪ‬
‫ﳛﺪﺙ ﺑﻴﻨﻬﻤﺎ ﺣﻮﺍﺭ ﻋﺎﺩﻱ ﺣﻮﻝ ﻋﺪﺩ ﺍﳊﻴﻞ ﺍﻟﱵ ﳝﺘﻠﻜﻬﺎ ﻛﻞ ﻭﺍﺣﺪ‪.‬‬
‫ﻳﻌﺮﺽ ﺍﻟﻄﺮﻓﺎﻥ ﻋﺪﺩ ﺣﻴﻠﻬﻤﺎ ﻭﺇﱃ ﺣﺪ ﺍﻵﻥ ﺍﳍﺪﻭﺀ ﺑﺎﻕ ﻭﺍﻻﺗﺼﺎﻝ ﺑﲔ ﺍﻟﺸﺨﻮﺹ ﻭﺍﺭﺩ ﺃﻳﻀﺎ‪.‬‬
‫ﻣﺒﺎﺷﺮﺓ ﺑﻌﺪ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﻋﺪﺩ ﺍﳊﻴﻞ‪ ،‬ﳛﺪﺙ ﺍﺿﻄﺮﺍﺏ ﻳﻠﻴﻪ ﺍﻧﻔﺼﺎﻝ ﻭﺗﺒﺎﻋﺪ ﻧﺎﺗﺞ ﻋﻦ ﺟﺸﻊ‬
‫ﺍﻟﻄﺮﻑ ﺍﻷﻭﻝ ﺍﳌﺘﻤﺜﻞ ﰲ ﺍﻟﺬﺋﺐ‪.‬‬
‫ﺳﺮﺩ ﻋﻠﻴﻨﺎ ﻣﱳ ﺍﳊﻜﺎﻳﺔ ﺑﻌﺪ ﺫﻟﻚ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻷﺣﺪﺍﺙ ﺳﺎﻫﻢ ﰲ ﺻﻨﻌﻬﺎ ﺍﻟﻄﺮﻑ‬
‫ﺍﻟﺜﺎﱐ)ﺍﻟﻘﻨﻔﺪ( ﻓﺘﺤﺪﺙ ﲢﻮﻻﺕ ﻋﺪﻳﺪﺓ ﺗﺆﺩﻱ ﰲ ﺍﻟﻨﻬﺎﻳﺔ ﺇﱃ ﻣﻮﻗﻒ ﺧﺘﺎﻣﻲ ﻣﺴﺘﻘﺮ ﺍﺳﺘﻘﺮﺍﺭ ‪‬ﺎﺋﻴﺎ‪،‬‬
‫ﻓﻴﻪ ﻗﻀﺎﺀ ﻋﻠﻰ ﺍﻟﻄﺮﻑ ﺍﻷﻭﻝ ﺍﻟﺬﺋﺐ ﺻﺎﺣﺐ ﺍﳌﻜﺮ ﻭﺍﳊﻴﻞ‪ ،‬ﻭﲢﺴﻦ ﻣﺼﲑ ﺍﻟﻄﺮﻑ ﺍﳌﻘﺎﺑﻞ‬
‫ﺍﳌﻮﺳﻮﻡ ﺑﺎﻟﺘﺴﺎﻣﺢ ﻭﺍﻟﻄﻴﺒﺔ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﻣﻌﺎﺩﻟﺔ ﻧﺼﻮﺻﻨﺎ ﺍﳊﻜﺎﺋﻴﺔ ﻣﺎ ﻛﺎﻧﺖ ﻟﺘﻨﺠﺢ ﻟﻮﻣﺎ ﺗﻮﻓﺮﺕ ﻋﻠﻰ ﺫﻟﻚ‬
‫ﺍﻟﺘﺴﻠﺴﻞ ﺍﻟﺴﺮﺩﻱ ﻟﻸﺣﺪﺍﺙ ﻣﻦ ﺟﻬﺔ ﻭﺍﻋﺘﻤﺎﺩ ﻫﺬﺍ ﺍﻷﺧﲑ ﺃﻳﻀﺎ ﻋﻠﻰ ﺗﻘﻨﻴﺎﺕ ﻣﻼﺯﻣﺔ ﻟﻪ ﻫﻲ‬
‫ﺍﻟﻮﺻﻒ ﻭﺍﳊﻮﺍﺭ‪.‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪ ،‬ﺹ‪.191‬‬

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 ‫‪-3‬ﺍﳊـــﻮﺍﺭ‪:‬‬
‫ﺍﳊﻮﺍﺭ ﺭﻛﻦ ﺃﺳﺎﺳﻲ ﻣﻦ ﺃﺭﻛﺎﻥ ﺍﻷﺳﻠﻮﺏ ﻭﻋﻤﻞ ﻣﻬﻢ ﰲ ﺍﻟﺘﻌﺒﲑ ﺍﻟﻔﲏ ﻟﻜﻞ ﻗﺼ‪‬ﺔ ﺃﻭ ﺭﻭﺍﻳﺔ‬
‫ﻭﺃﺳﺎﺱ ﰲ ﺭﺳﻢ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻭﻟﺬﻟﻚ "ﻛﺎﻥ ﺍﳊﻮﺍﺭ ﻣﻦ ﺑﲔ ﺍﻟﻄﺮﻕ ﺍﻟﻔﻨﻴﺔ ﺍﻟﱵ ﻳﺴﺘﻌﻤﻠﻬﺎ‬
‫)‪( 1‬‬
‫ﺍﻟﻜﺎﺗﺐ ﰲ ﲢﺮﻳﻚ ﺷﺨﺼﻴﺎﺕ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﺑﻪ ﺗﺘﺼﻞ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﺗﺼﺎﻻ ﻭﺛﻴﻘﺎ"‪.‬‬
‫ﻓﺎﳊﻮﺍﺭ ﺇﺫﻥ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳍﺎﻣ‪‬ﺔ ﺍﻟﱵ ﺗﻜﻮ‪‬ﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻛﻴﻒ ﻻ ﻭﳓﻦ ﺑﻮﺍﺳﻄﺘﻪ ﻧﺴﺘﻄﻴﻊ‬
‫ﺃﻥ ﻧﺮﻓﻊ ﺍﳊﺠﺎﺏ ﻋﻦ ﺃﺣﺎﺳﻴﺲ ﻭﻣﺸﺎﻋﺮ ﺍﻟﺸﺨﺼﻴﺔ ﻭﻋﻮﺍﻃﻔﻬﺎ ﺍﳌﺨﺘﻠﻔﺔ ﻭﺷﻌﻮﺭﻫﺎ ﺍﻟﺒﺎﻃﲏ ﲡﺎﻩ‬
‫ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ ﺃﻭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﺘﻮﺍﺟﺪﺓ ﻓﻴﻬﺎ‪.‬‬
‫ﻭﻗﺪ ﺍﲣﺬ ﺍﳊﻮﺍﺭ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺨﺘﺎﺭﺓ ﻣﺴﺎﺭﺍ ﻭﺍﺣﺪﺍ ﻃﺮﻓﺎﻩ ﳘﺎ ﺍﻟﺮﺍﻭﻱ ﺃﻭ‬
‫ﺍﳊﺎﻛﻲ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻧﺎﻗﻼ ﻷﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﺍﳌﺴﺘﻤﻊ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻣﺘﻠﻘﻴﺎ‪.‬‬
‫ﻛﻤﺎ ﻧﻠﻤﺢ ﺣﻮﺍﺭﺍ ﺁﺧﺮ ﺩﺍﺧﻞ ﺍﻟﻨﺼﻮﺹ ﺍﳊﻜﺎﺋﻴﺔ‪ ،‬ﻳﺪﻭﺭ ﺑﲔ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﻛﻤﺎ ﻫﻲ‬
‫ﺍﻟﻌﺎﺩﺓ ﻳﻌﺮﻑ ﺑﺼﻴﻐﱵ ﻗﺎﻝ ‪ ،‬ﻗﻠﺖ ‪ ...‬ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﻣﻦ ﳕﺎﺫﺟﻪ ﰲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‪.‬‬
‫ﻭﻛﺎﻧﺖ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﻦ ﺗﻘﻮﻝ‪ :‬ﺇﺫﺍ ﺗﺰﻭﺟﺖ ﺍﳌﻠﻚ ﻧﺪﻳﺮ ﻛﺬﺍ ﻭﻛﺬﺍ‪ ،‬ﻓﻘﺎﻟﺖ ﺍﻷﻭﱃ‪ :‬ﻣﻦ‬
‫ﺣﺒﺔ ﻧﺪﻳﺮ ﻣﻴﻌﺎﺩ‪ ،‬ﻭﻗﺎﻟﺖ ﺍﻟﺜﺎﻧﻴﺔ ‪ :‬ﻣﻦ ﺟﺰﺓ ﺻﻮﻑ ﻧﺪﻳﺮ ﺑﺮﻧﻮﺱ‪ ،‬ﻭﻗﺎﻟﺖ ﺍﻟﺜﺎﻟﺜﺔ ‪ :‬ﻣﻦ ﺟﻠﺪ‬
‫ﺑﻮﺳﻜﺮﺓ ﻧﺒﲏ ﺩﺍﺭ‪ ....‬ﻭﻫﻜﺬﺍ‪.‬‬
‫ﻭﻗﺎﻟﺖ ﺍﻟﺴﺎﺑﻌﺔ ‪ :‬ﺇﺫﺍ ﺗﺰﻭﺟﺖ ﺍﳌﻠﻚ ﻳﺮﺯﻗﲏ ﺭﰊ ﻃﻔﻞ ﻭﻃﻔﻞ ﻗﺮﻭ‪‬ﻢ ﺫﻫﺐ ﻭﻓﻀﺔ‪....‬‬
‫ﻓﻘﺪ ﰎﹼ ﻧﻘﻞ ﺍﳊﻮﺍﺭ ﺇﱃ ﺍﳌﺴﺘﻤﻊ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺮﺍﻭﻱ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻫﻮ ﺍﳌﺘﻜﻠﻢ ﻋﻠﻰ ﺃﻟﺴﻨﺔ ﺷﺨﻮﺻﻪ‬
‫ﻭﻣﻦ ﳕﺎﺫﺟﻪ ﺃﻳﻀﺎ ﺣﻮﺍﺭ ﺍﻟﺰﻭﺟﺔ ﻣﻊ ﺯﻭﺟﻬﺎ ﺍﻟﺼﻴﺎﺩ ﳌﺎ ﺭﺃﺕ ﺍﻟﻄﻔﻠﲔ ﺣﻴﺚ ﻗﺎﻟﺖ‪ :‬ﻳﺎ ﺳﻌﺪﻱ‬
‫ﺑﺒﻨﱵ ﴰﺴﺔ ﻭﻗﺎﻝ ﺍﻟﺰﻭﺝ‪ :‬ﻳﺎ ﺳﻌﺪﻱ ﺑﻮﻟﻴﺪﻱ ﻏﻼﻡ ﺍﻟﻠﻴﻞ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﻤﻮﺍﻃﻦ ﺍﳊﻮﺍﺭ ﰲ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺔ ﻛﺜﲑﺓ ﻧﺬﻛﺮ ﻣﻨﻬﺎ ﺫﻟﻚ ﺍﻟﺬﻱ ﺩﺍﺭ ﺑﲔ ﴰﺴﺔ ﻭﺃﺧﻴﻬﺎ‬
‫ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﳌﹼﺎ ﻭﺟﺪﻫﺎ ﺗﺒﻜﻲ‪ ،‬ﻭﺣﻮﺍﺭ ﺍﺑﻦ ﺍﻟﻴﻬﻮﺩﻱ ﻣﻊ ﺻﺪﻳﻘﻪ‪ ،‬ﻭﺣﻮﺍﺭ ﺍﻟﺒﻄﻼﻥ ﻣﻊ ﺍﻟﺸﻴﺦ ﺍﳌﻮﻗﺮ‪،‬‬
‫ﻭﺣﻮﺍﺭ ﺳﺘ‪‬ﻮﺕ ﺍﳌﺘﻜﺮﺭ ﻣﻊ ﴰﺴﺔ‪ ،‬ﻭﺣﻮﺍﺭ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻣﻊ ﻭﺻﻴﻔﺎﺕ ﺟﺎﺯﻳﺔ‪ ،‬ﰒ ﺣﻮﺍﺭ ﺟﺎﺯﻳﺔ ﻣﻊ‬
‫ﻏﻼﻡ ﺍﻟﻠﻴﻞ‪ ،‬ﻭﺃﺧﲑﺍ ﺣﻮﺍﺭ ﺟﺎﺯﻳﺔ ﻣﻊ ﺍﻟﺴﻠﻄﺎﻥ‪.‬‬

‫)‪ (1‬ﳏﻤﺪ ﺍﳍﺎﺩﻱ ﺍﻟﻌﺎﻣﺮﻱ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺘﻮﻧﺴﻴﺔ ﺍﻟﻘﺼﲑﺓ‪ ،‬ﺩﺍﺭ ﺑﻮﺳﻼﻣﺔ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺗﻮﻧﺲ )ﺩ‪.‬ﻁ( ‪،1980‬ﺹ ‪.101‬‬
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‫ﻣﺎ ﳛﻜﻢ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨ‪‬ﻮﻉ ﻣﻦ ﺍﳊﻮﺍﺭ ﺃﻥ ﻟﻐﺘﻪ ﺑﺴﻴﻄﺔ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﻣﻨﺎﺳﺒﺎ ﻟﻜﻞ ﺷﺨﺼﻴﺔ ﻣﺘﻮﺍﻓﻘﺎ‬
‫ﻣﻊ ﻣﻜﺎﻧﺘﻬﺎ ﻭﻣﺴﺘﻮﺍﻫﺎ‪ ،‬ﺣﻴﺚ ﺳﺎﻫﻢ ﰲ ﻧﻔﺾ ﺍﻟﻐﺒﺎﺭ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺑﺈﺑﺮﺍﺯ ﻃﺒﻴﻌﺘﻬﺎ ﻭﺭﺳﻢ‬
‫ﻣﻼﳏﻬﺎ‪.‬‬
‫ﻓﻤﻦ ﺧﻼﻝ ﺣﻮﺍﺭ ﺳﺘﻮﺕ ﻣﻊ ﴰﺴﺔ ﰲ ﻗﻮﻝ ﺍﻟﺮﺍﻭﻱ‪" :‬ﻓﺄﺧﺬﺕ ﺍﻟﻌﺠﻮﺯ ﺗﻔﻜﺮ ﰲ ﻃﺮﻳﻘﺔ‬
‫ﻟﺘﻘﻀﻲ ‪‬ﺎ ﻋﻠﻰ ﺍﻷﺧﻮﻳﻦ ﻭﻗﺎﻟﺖ ﻟﻠﻔﺘﺎﺓ‪ :‬ﻟﻘﺼﺮ ﻧﺘﺎﻋﻜﻢ ﻫﺎﻳﻞ‪ ،‬ﺑﺼﺢ ﺗﻨﻘﺼﻮﺍ ﺣﺎﺟﺔ‪ ،‬ﻓﻘﺎﻟﺖ‬
‫ﴰﺴﺔ‪ :‬ﻭﺍﺵ ﻫﻲ ﻫﺬﻱ ﺍﳊﺎﺟﺔ؟ ﻓﻘﺎﻟﺖ ﳍﺎ ﺳﺘﻮﺕ‪ :‬ﺍﻟﺘﻔﺎﺡ ﺍﻟﻠﻲ ﻳﻔﻮﺡ ﺍﻟﻠﻲ ﻳﺮﺩ ﺍﻟﺮﻭﺡ ﻭﻳﺮﺟﻊ‬
‫ﺍﻟﺸﺎﻳﺐ ﺷﺒﺎﺏ ‪ ."...‬ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻟﻄﻠﺒﺎﺕ ﻭﺍﻟﺘﻌﺠﻴﺰﺍﺕ‪ ،‬ﺗﻈﻬﺮ ﻃﺒﻴﻌﺔ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺸﺮﻳﺮﺓ‬
‫ﻭﻣﺪﻯ ﻣﻜﺮﻫﺎ‪ ،‬ﻭﺣﻘﺪﻫﺎ ﻋﻠﻰ ﺍﻟﺒﻄﻠﲔ‪.‬‬
‫ﻛﻤﺎ ﺃﺳﻔﺮ ﺍﳊﻮﺍﺭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﴰﺴﺔ ﺍﻟﺒﻄﻠﺔ ﻭﺍﻟﱵ ﻳﻜﻤﻦ ﺍﳊﻜﻢ ﻋﻠﻴﻬﺎ‬
‫ﺑﺎﻟﺴﺎﺫﺟﺔ‪ ،‬ﻭﺍﳌﻐﻔﻠﺔ ﺍﻷﻣﺮ ﻧﻔﺴﻪ ﺃﻳﻀﺎ ﳝﻜﻦ ﺃﻥ ﻧﻄﺒﻘﻪ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﻭﻭﺩﻋﺔ‪ ،‬ﻭﻛﻴﻒ ﺃﻥﹼ ﺳﺘ‪‬ﻮﺕ‬
‫ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ ﲣﺪﻋﻬﺎ ‪ ،‬ﻭﲣﺪﻉ ﺇﺧﻮ‪‬ﺎ ﺃﻳﻀﺎ‪.‬‬
‫ﻛﻤﺎ ﻳﻌﻤﻞ ﺍﳊﻮﺍﺭ ﻋﻠﻰ ﺗﺪﻋﻴﻢ ﺍﳊﺪﺙ ﺑﺎﻟﻄﺎﻗﺎﺕ ﺍﻹﺧﺒﺎﺭﻳﺔ ﻭﺍﻟﺘﺤﻠﻴﻠﻴﺔ ﻭﺍﻟﻮﺻﻔﻴﺔ ﺍﻟﱵ ﺗﻠﺰﻣﻪ‬
‫ﻭﳍﺬﺍ ﻳﻌﺪ ﺍﳊﻮﺍﺭ ﻣﻦ ﺃﺩﻕ ﻭﺳﺎﺋﻞ ﺍﻟﻜﺘﺎﺑﺔ ﻭﺃﻛﺜﺮﻫﺎ ﺃﳘﻴﺔ‪.‬‬
‫ﻭﻳﺴﺎﻫﻢ ﺍﳊﻮﺍﺭ ﺃﻳﻀﺎ ﰲ ﺗﻄﻮﻳﺮ ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ ﻟﻠﺴﲑ ‪‬ﺎ ﺇﱃ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﻨﻬﺎﺋﻴﺔ ﻭﻫﺬﺍ ﻣﺎ‬
‫ﻧﻼﺣﻈﻪ ﰲ ﺣﻜﺎﻳﺔ "ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ"‪ ،‬ﻭﺍﻟﱵ ﳚﺮﻱ ﺣﻮﺍﺭﻫﺎ ﺑﲔ ﻃﺮﻓﲔ ﺍﺛﻨﲔ ﳘﺎ ﺍﻟﻘﻨﻔﺪ ﻭﺍﻟﺬﺋﺐ‪،‬‬
‫ﻭﻣﺎ ﻳﻼﺣﻆ ﻋﻠﻰ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺔ ﻫﻮ ﺳﻴﻄﺮﺓ ﺍﳊﻮﺍﺭ ﻓﻴﻬﺎ ﻣﻦ ﺍﻟﺒﺪﺍﻳﺔ ﺇﱃ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﻓﺒﺎﳊﻮﺍﺭ ﺣﺪﺛﺖ‬
‫ﺍﳋﺪﻳﻌﺔ ﻭﺑﺎﳊﻮﺍﺭ ﻛﺎﻧﺖ ﺍﻟﻨﺠﺎﺓ ﺃﻳﻀﺎ‪.‬‬

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‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥ ﺍﳊﻮﺍﺭ ﻧﻮﻋﺎﻥ ﺧﺎﺭﺟﻲ ﻭﺩﺍﺧﻠﻲ‪ ،‬ﺃﻣﺎ ﺍﳋﺎﺭﺟﻲ ﻓﻴﻤﺜﻠﻪ ﺍﳊﻮﺍﺭ‬
‫ﺍﻟﻌﺎﺩﻱ ﺍﳌﺘﺒﺎﺩﻝ ﺑﲔ ﺷﺨﻮﺹ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭﺃﻣﺎ ﺍﻟﺪﺍﺧﻠﻲ ﻓﻬﻮ ﺣﺪﻳﺚ ﺍﻟﻨﻔﺲ ﺃﻭ ﻣﺎ ﻳﺴﻤﻰ ﺣﺪﻳﺜﺎ‬
‫ﺑﺎﳌﻮﻧﻮﻟﻮﺝ ﺍﻟﺬﻱ ﻳﻌﲏ ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻨﺠﻮﺍﺀ ﺃﻭ ﺍﳌﻨﺠﺎﺓ)‪.(1‬‬
‫ﻭﻳﻈﻬﺮ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﳊﻮﺍﺭ ﰲ ﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ ﰲ ﻗﻮﻝ ﺍﻟﺮﺍﻭﻱ‪:‬‬
‫ﻗﺎﻝ ﺍﻟﺬﺋﺐ ﰲ ﻧﻔﺴﻪ‪ :‬ﻛﻨﺖ ﳓﻮﺳﻮ ﳝﻮﺕ ﻫﺎﻫﻮ ﻟﻘﺎ ﺳﻮﻕ ﻣﻠﻴﺎﻥ ﻣﺎﻋﺰ ﻭﻏﻨﻢ ﻭﺃﻧﺎ ﺃﻭﱃ ﺑﻴﻪ‪ ،‬ﻋﻨﺪﻱ‬
‫ﲰﺎﻧﺔ ﻣﺎﴰﻴﺘﺶ ﻓﻴﻬﺎ ﺭﳛﺔ ﺍﻟﻠﺤﻢ‪ ،‬ﻳﺎ ﺭﻳﺘﲏ ﻛﻨﺖ ﻣﻌﺎﻩ ﺭﺍﱐ ﻛﻠﻴﺖ ﻧﺸﺒﻌﺖ‪.‬‬
‫ﻓﻬﺬﺍ ﺍﳌﻘﻄﻊ ﺍﳊﻮﺍﺭﻱ ﺇﺫﻥ ﺃﺳﻔﺮ ﻋﻦ ﻧﻔﺲ ﻃﻤ‪‬ﺎﻋﺔ ﺟﺸﻌﺔ ﲤﻠﻜﺖ ﺍﻟﺬﺋﺐ ﻋﻤﻮﻣﺎ‪ ،‬ﻓﺎﳊﻮﺍﺭ ﻻ‬
‫ﻳﻜﻮﻥ ﻧﺎﺟﺤﺎ ﺇﻻﹼ ﺇﺫﺍ ﻛﺎﻥ ﺑﻄﺮﻳﻘﺔ ﻋﻔﻮﻳﺔ ﺧﺎﻟﻴﺔ ﻣﻦ ﺃﻱ ﺗﻜﻠﹼﻒ‪ ،‬ﻭﺃﻥ ﻳﺪﻉ ﺍﻟﺮﺍﻭﻱ ﺍﻟﺸﺨﺼﻴﺎﺕ‬
‫ﺗﻨﻄﻠﻖ ﰲ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﻣﻮﻗﻔﻬﺎ ﲝﺮﻳﺔ ﻛﺎﻣﻠﺔ‪ ،‬ﻭﺃﻥ ﻳﻨﺤﻲ ﻫﻮ ﻧﻔﺴﻪ ﺟﺎﻧﺒﺎ ﻷﻥ ﻫﺬﻩ ﺍﻟﻄﺮﻳﻘﺔ ﻫﻲ‬
‫ﺍﻷﻗﺮﺏ ﺇﱃ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﺍﻷﻛﺜﺮ ﺍﺗﺼﺎﻻ ﺑﺎﻟﻮﺍﻗﻊ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥ ﺣﻮﺍﺭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﰲ ﺣﻜﺎﻳﺎﺗﻨﺎ ﺍﳌﺨﺘﺎﺭﺓ ﺑﺴﻴﻂ‪ ،‬ﻷﻥ ﺍﻟﻠﻐﺔ ﺍﻟﱵ ﺳﺎﺭ ‪‬ﺎ‬
‫ﺑﺴﻴﻄﺔ‪ ،‬ﺇ‪‬ﺎ ﺍﻟﻌﺎﻣﻴﺔ ﺍﻟﱵ ﺍﺳﺘﻄﺎﻋﺖ ﺃﻥ ﲢﻘﻖ ﺍﻟﺼﺪﻕ ﻭﺍﻟﻮﺍﻗﻌﻴﺔ‪.‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﰲ ﻧﻈﺮﻳﺔ ﺍﻟﺮﻭﺍﻳﺔ‪،‬ﺹ ‪.134‬‬

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 ‫ﺛﺎﻧﻴﺎ‪ -‬اﻟﺸﺨﺼﻴﺔ ﻓﻲ اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ‬
‫ﻣﻦ ﺍﳌﻜﻮ‪‬ﻧﺎﺕ ﺍﻟﺴﺮﺩﻳﺔ ﺍﻷﺳﺎﺳﻴﺔ ﰲ ﺍﻟﻌﻤﻞ ﺍﻟﻘﺼﺼﻲ "ﺍﻟﺸﺨﺼﻴﺔ"‪ ،‬ﻭﺍﻟﺘﻌﺮﺽ ﻟﻄﺒﻴﻌﺘﻬﺎ‬
‫ﻭﺃﺩﻭﺍﺭﻫﺎ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺿﺮﻭﺭﻱ ﺟﺪﺍ‪ ،‬ﳌﺎ ﳍﺎ ﻣﻦ ﺩﻭﺭ ﻓﺎﻋﻞ ﰲ ﺑﻨﻴﺔ ﺧﻄﺎ‪‬ﺎ‪.‬‬
‫ﻭﻣﻴﺪﺍﻥ ﺩﺭﺍﺳﺔ ﺍﻟﺸﺨﺼﻴﺔ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ ﻣﻦ ﺍﺧﺘﺼﺎﺹ ﻋﻠﻢ ﺍﻟﻨﻔﺲ‪ ،‬ﻓﻘﺪ ﻋﺮ‪‬ﻓﻬﺎ ﺍﻟﺒﺎﺣﺜﻮﻥ‬
‫ﺗﻌﺮﻳﻔﺎﺕ ﻛﺜﲑﺓ ﻋﱪ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﻧﺬﻛﺮ ﻣﻦ ﺑﻴﻨﻬﺎ ﺗﻌﺮﻳﻒ ﳎﻤﻮﻋﺔ ﻣﻌﺎﺻﺮﺓ ﻣﻦ ﺑﺎﺣﺜﻲ ﻋﻠﻢ ﺍﻟﻨﻔﺲ‪":‬ﺇﻥﹼ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ﻛﻤﺎ ﻧﻔﻬﻤﻬﺎ ﺍﻟﻴﻮﻡ ﻫﻲ ﻣﺰﻳﺞ ﻣﻦ ﺍﻟﻔﻌﺎﻟﻴﺎﺕ ﺍﻟﺒﺎﻳﻠﻮﺟﻴﺔ ﻭ ﺍﻟﺬﺍﺗﻴﺔ ﺃﻭ ﺍﻟﻔﻜﺮﻳﺔ ﻭﺍﳊﻮﺍﺩﺙ‬
‫)‪(1‬‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴﺔ"‪.‬‬
‫ﻭ ﺍﻟﺸﺨﺼﻴﺔ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﺿﺤﺔ ﳏﺪ‪‬ﺩﺓ‪ ،‬ﻭﻫﻲ ﻋﻠﻰ ﺍﻷﻏﻠﺐ ﺷﺨﺼﻴﺎﺕ ﳕﻄﻴﺔ ﺗﺘﺤﺪﺩ‬
‫ﲟﻮﻗﻌﻬﺎ ﰲ ﺍﳊﻜﺎﻳﺔ ﺃﻭ ﲟﻜﺎﻧﺘﻬﺎ ﰲ ﺍ‪‬ﺘﻤﻊ ﻛﺎﻷﺏ‪ ،‬ﻭﺍﻻﺑﻦ‪ ،‬ﻭﺍﻟﺰﻭﺝ ﻭﺍﳌﻠﻚ‪.‬‬
‫ﻭﲟﺎ ﺃﻥ ﺣﻜﺎﻳﺘﻨﺎ ﺍﳌﺨﺘﺎﺭﺓ ﺷﻌﺒﻴﺔ ﻓﺈﻥ ﺷﺨﻮﺻﻬﺎ ﺷﻌﺒﻴﺔ‪ ،‬ﻗﺮﻳﺒﺔ ﻣﻦ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻷﻥﹼ ﻣﺎﺩﺓ ﺍﳊﻜﺎﻳﺔ‬
‫ﻣﺴﺘﻤﺪﺓ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻨﻔﺴﻲ ﻭﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﻟﺬﻱ ﻳﻌﻴﺸﻪ ﺍﻟﺸﻌﺐ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺸﺨﻮﺹ ﺣﻜﺎﻳﺘﻨﺎ ﺍﻟﺜﻼﺛﺔ ﺗﻨﻮﻋﺖ ﻓﻜﺎﻥ ﳊﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‪ ،‬ﻭﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ‬
‫ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ‪ ،‬ﺷﺨﻮﺹ ﺁﺩﻣﻴﺔ‪ ،‬ﺃﻣﺎ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺜﺎﻟﺜﺔ‪ ،‬ﻓﺸﺨﻮﺻﻬﺎ ﺣﻴﻮﺍﻧﻴﺔ ﳝﺜﹼﻠﻬﺎ ﺍﻟﻘﻨﻔﺪ ﻭﺍﻟﺬﺋﺐ‪.‬‬
‫ﻭﻗﺪ ﺍﺳﺘﻄﺎﻉ ﺭﻭﺍﺓ ﺍﳊﻜﺎﻳﺎﺕ ﺃﻥ ﻳﺮﲰﻮﺍ ﻟﻨﺎ ﻋﺎﳌﺎ ﻗﺼﺼﻴﺎ‪ ،‬ﲟﻌﻄﻴﺎﺕ ﳐﺘﻠﻔﺔ ﻭﺃﺳﻨﺪﻭﺍ ﻟﺸﺨﻮﺻﻪ‬
‫ﺃﺩﻭﺍﺭﺍ ﻣﺘﻘﻨﺔ ﺧ‪‬ﻴ‪‬ﻞ ﻟﻨﺎ ﺃ‪‬ﺎ ﺣﻘﻴﻘﺔ‪.‬‬
‫ﻓﻔﻲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺗﺘﺤﺪ‪‬ﺩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻣﻊ ﺑﺪﺍﻳﺘﻬﺎ‪ ،‬ﺣﻴﺚ ﻳﺮﺳﻢ ﻟﻨﺎ ﺭﺍﻭﻱ‬
‫ﺍﳊﻜﺎﻳﺔ ﺻﻮﺭﺓ ﻣﻠﻚ‪ ،‬ﻭﺳﺒﻌﺔ ﻧﺴﺎﺀ‪ ،‬ﺩﻭﻥ ﺗﺴﻤﻴﺔ ﺃﻭ ﺭﺳﻢ ﻟﻠﻤﻼﻣﺢ‪ ،‬ﺗﻨﻈﻢ ﺇﱃ ﻫﺎﺗﻪ ﺍﻟﺸﺨﻮﺹ‬
‫ﺷﺨﺼﻴﺔ ﺳﺘﻮﺕ‪ ،‬ﺍﻟﱵ ﻳﺘﻀﺢ ﺧ‪‬ﺒﺜﻬﺎ ﻣﻦ ﺧﻼﻝ ﺗﺼﺮﻓﺎ‪‬ﺎ ﰒ ﺗ‪‬ﺪﻋ‪‬ﻢ ﺷﺨﺼﻴﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺑﺘﻮﺃﻣﲔ‬
‫ﺍﺛﻨﲔ ﺑﻄﻠﲔ‪ ،‬ﳛﺪﺩ ﺍﻟﺮﺍﻭﻱ ﺟﻨﺴﻴﻬﻤﺎ ﻭﺻﻔﺎ‪‬ﻤﺎ‪ ،‬ﻛﻤﺎ ﳝﻨﺤﻬﻤﺎ ﺍﲰﲔ ﰲ ﻣﺎ ﺑﻌﺪ‪.‬‬

‫)‪ (1‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ ﺹ ‪109 ، 108‬‬
‫‪- 136 -‬‬
‫ﺃﻣﺎ ﺍﳉﻨﺴﺎﻥ ﻓﺬﻛﺮ ﻭﺃﻧﺜﻰ‪ ،‬ﻭﺃﻣﺎ ﺍﻟﺼﻔﺎﺕ ﻓﻠﻬﻤﺎ ﻗﺮﻧﺎﻥ ﻣﻦ ﺫﻫﺐ ﻭﻓﻀﺔ ﻭﺃﻣﺎ ﺍﲰﻴﻬﻤﺎ ﻓﻐﻼﻡ‬
‫ﺍﻟﻠﻴﻞ ﻭﴰﺴﺔ ‪.‬‬
‫ﻟﺘﺪﻋﻢ ﻛﻞﹼ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺑﻌﻨﺎﺻﺮ ﺁﺩﻣﻴﺔ ﺃﺧﺮﻯ ﻫﻲ ﺟﺎﺯﻳﺔ ﻭﺍﻟﺼﻴﺎﺩ ﺍﻟﻌﺠﻮﺯ ﻭﺯﻭﺟﺘﻪ ﻭﺑﻦ‬
‫ﺍﻟﻴﻬﻮﺩﻱ ﻭﺍﺑﻨﻪ ﻭﺯﻭﺟﺘﻪ ﻭﻏﲑﻫﻢ‪.‬‬
‫ﻭﻛﻤﺎ ﺗﻨﻮ‪‬ﻋﺖ ﺍﻟﺸﺨﺼﻴﺎﺕ ﰲ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﺗﻨﻮﻋﺖ ﺃﻳﻀﺎ ﰲ ﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ ﺍﻟﱵ ﺣﺪ‪‬ﺩﻫﺎ‬
‫ﺍﻟﺮﺍﻭﻱ ﻣﻨﺬ ﺑﺪﺍﻳﺘﻬﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻄﺮﻕ ﻷﻓﺮﺍﺩ ﺃﺳﺮ‪‬ﺎ "ﻛﺎﻧﺖ ﺃﻡ ﺗﻌﻴﺶ ﻣﻊ ﺯﻭﺟﻬﺎ‪ ،‬ﻭﺷﺎﺀﺕ‬
‫ﺍﻷﻗﺪﺍﺭ ﺃﻥ ﺗﺮﺯﻕ ﺑﺴﺒﻌﺔ ﺃﻭﻻﺩ ﺫﻛﻮﺭ‪...‬ﻭﻣﺮﺕ ﺍﻷﻳﺎﻡ ﺇﱃ ﺃﻥ ﻭﺿﻌﺖ ﺍﻷﻡ ﲪﻠﻬﺎ ﻭﻛﺎﻧﺖ ﺑﻨﺘﺎ‪"...‬‬
‫ﺩﻋ‪‬ﻢ ﺍﻟﺮﺍﻭﻱ ﻫﺬﻩ ﺍﻟﺸﺨﻮﺹ ﺑﺸﺨﺼﻴﺎﺕ ﺃﺧﺮﻯ ﺗﻀﻢ ﺳﺘﻮﺕ‪ ،‬ﻭﺯﻭﺟﺎﺕ ﺍﻷﺑﻨﺎﺀ‪،‬‬
‫ﻭﺍﳋﺎﺩﻣﺎﺕ‪ ،‬ﻭﺍﻟﻔﺎﺭﺱ‪ ،‬ﻭﺃﻋﻄﻰ ﻛﻞ ﺷﺨﺼﻴﺔ ﺩﻭﺭﻫﺎ ﻭ ﻣﺰﺍﺟﻬﺎ ﺧﺎﺻﺔ ﻭﺃ‪‬ﺎ ‪-‬ﺃﻱ ﺍﻟﺸﺨﺼﻴﺔ‪-‬‬
‫ﺗﻌﺘﱪ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ" ﺍﻷﺩﺍﺓ ﺍﻟﱵ ﺗﻘﻮﻡ ﺑﺎﻟﻔﻌﻞ ﺃﻭ ﻳﻘﻊ ﻋﻠﻴﻬﺎ ﻭﺇﻥ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻜﻮﻥ‬
‫ﺛﺎﺑﺘﺔ ﰲ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ")‪.(1‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺜﻼﺛﺔ ﺗﺘ‪‬ﻔﻖ ﰲ ﻛﻮ‪‬ﺎ ﺗﺘﺒﻠﻮﺭ ﲨﻴﻌﺎ ﺣﻮﻝ ﺷﺨﺼﻴﺔ ﺭﺋﻴﺴﻴﺔ‬
‫ﺗﺴﻤﻰ ﺑﻄﻞ ﺍﻟﻘﺼﺔ ﺃﻭ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻓﺎﳊﻜﺎﻳﺔ ﺍﻷﻭﱃ ﺑﻄﻠﻬﺎ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‪ ،‬ﻭﺍﻟﺜﺎﻧﻴﺔ ﺑﻄﻠﻬﺎ ﻓﺘﺎﺓ‬
‫ﺗ‪‬ﺪﻋﻰ ﻭﺩﻋﺔ‪ ،‬ﺃﻣﺎ ﺍﻟﺜﺎﻟﺜﺔ ﻓﺒﻄﻼﻫﺎ ﺣﻴﻮﺍﻧﺎﻥ ﳘﺎ ﺍﻟﺬﺋﺐ ﻭﺍﻟﻘﻨﻔﺪ‪.‬‬
‫"ﻭﲜﺎﻧﺐ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻟﺒﻄﻠﺔ ﺗﻮﺟﺪ ﺷﺨﺼﻴﺎﺕ ﻋﺪﻳﺪﺓ ﺑﻌﻀﻬﺎ ﺛﺎﻧﻮﻱ ﺃﻛﺜﺮ ﻣﻦ‬
‫ﺍﻵﺧﺮ ﻧﻈﺮﺍ ﻟﺪﻭﺭﻫﺎ ﰲ ﺍﻟﻘﺼﺔ")‪.(2‬‬
‫ﺇﻥﹼ ﻃﺒﻴﻌﺔ ﺍﻟﺼﺮﺍﻉ ﺍﻟﺬﻱ ﺗﻘﻮﻡ ﻋﻠﻴﻪ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ‪ ،‬ﳛﺘ‪‬ﻢ ﻭﺟﻮﺩ ﺷﺨﺼﻴﺎﺕ ﺧﲑﺓ‪،‬‬
‫ﻭﺃﺧﺮﻯ ﺷﺮﻳﺮﺓ‪ ،‬ﻟﻴﺤﺘﺪﻡ ﺍﻟﺼﺮﺍﻉ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻭﺗﻨﺘﺼﺮ ﺇﺣﺪﺍﳘﺎ ﰲ ﺍﻟﻨﻬﺎﻳﺔ‪.‬‬

‫ﻭ ﻣﺎ ﻳﻼﺣﻆ ﻋﻠﻰ ﺣﻜﺎﻳﺘﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺫﻟﻚ ﺍﻟﺘﻨﻮﻉ ﺍﻟﺼﺎﺧﺐ ﰲ ﺷﺨﺼﻴﺎ‪‬ﺎ ﻓﺒﺎﻹﺿﺎﻓﺔ ﺇﱃ‬
‫ﻛﻮ‪‬ﺎ ﺭﺋﻴﺴﺔ ﻭﺛﺎﻧﻮﻳﺔ‪ ،‬ﳝﻜﻦ ﺗﺼﻨﻴﻔﻬﺎ ﺇﱃ ﺧﲑﺓ ﻭﺷﺮﻳﺮﺓ ﻭﺛﺎﺑﺘﺔ ﻭﻣﺘﺤﺮﻛﺔ‪ ،‬ﻭﻗﺒﻞ ﺫﻟﻚ ﻛﻠﻪ ﺁﺩﻣﻴﺔ‬
‫ﻭﺣﻴﻮﺍﻧﻴﺔ‪.‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﻓﻨﻮﻥ ﺍﻟﻨﺜﺮ ﺍﻷﺩﰊ ﰲ ﺍﳉﺰﺍﺋﺮ)‪1954-1991‬ﻡ(‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﻣﻄﺎﺑﻊ ﻣﺆﺳﺴﺔ ﺍﻟﻜﺮﻣﺔ ﺍﳉﺰﺍﺋﺮ ‪،1983‬‬
‫ﺹ ‪.166‬‬
‫)‪ (2‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻲ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ ﺹ ‪.227‬‬
‫‪- 137 -‬‬
‫ﺇﻥﹼ ﻣﺎ ﻧﻘﺼﺪﻩ ﺑﺎﻟﺸﺨﺼﻴﺔ ﺍﻟﺜﺎﺑﺘﺔ ﺗﻠﻚ ﺍﻟﱵ ﺗﻠﺰﻡ ﺻﻮﺭﺓ ﻭﺍﺣﺪﺓ ﻣﻨﺬ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺼﺔ ﺇﱃ ‪‬ﺎﻳﺘﻬﺎ‬
‫ﻛﺼﻮﺭﺓ ﺍﻟﺴﻠﻄﺎﻥ ﻭﺳﺘﻮﺕ‪ ،‬ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻷﻭﱃ‪ ،‬ﻭﺍﻷﺑﻨﺎﺀ ﻭﺳﺘﻮﺕ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﻭﺍﻟﺬﺋﺐ‬
‫ﻭﺍﻟﻘﻨﻔﺬ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺜﺎﻟﺜﺔ‪.‬‬
‫ﺃﻣ‪‬ﺎ ﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﺘﺤﺮﻛﺔ ﻓﻬﻲ ﺍﻟﱵ ﺗﻠﺤﻘﻬﺎ ﺗﻐﲑﺍﺕ ﻛﺎﻟﺘﻮﺃﻣﺎﻥ ﰲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‬
‫ﺣﻴﺚ ﺻﻮﺭﳘﺎ ﺍﻟﺮﺍﻭﻱ ﺭﺿﻴﻌﲔ ﰲ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺼﺔ ﻭﻏﻼﻣﲔ ﰲ ﻣﺘﻨﻬﺎ‪ ،‬ﻓﺸﺎﺑﲔ ﰲ ﺧﺎﲤﺘﻬﺎ"ﺑﻴﻨﻤﺎ‬
‫ﺳﺘﻮﺕ ﺃﺧﺬﺕ ﺍﻟﻔﻠﻴﺰﺓ ﺑﺎﻟﺮﺿﻴﻌﲔ ﻭﺭﻣﺘﻬﺎ ﰲ ﺍﻟﺒﺤﺮ"‪" ،‬ﺭﺍﺡ ﺯﻣﺎﻥ ﻭﺟﺎ ﺯﻣﺎﻥ ﻭﻛﱪ ﺍﻟﻮﻟﺪﺍﻥ‪،‬‬
‫ﻭﺻﺎﺭﺕ ﺍﻟﺒﻨﺖ ﻓﺘﺎﺓ ﺷﺎﺑﺔ ﲨﻴﻠﺔ ﻭﺍﻟﻮﻟﺪ ﺻﺒﻴﺎ ﻳﺎﻓﻌﺎ‪ ،‬ﻓﻜﺎﻧﺖ ﺍﻟﺒﻨﺖ ﴰﺴﺔ ﺗﻘﻀﻲ ﻳﻮﻣﻬﺎ ﻣﻊ ﻭﺍﻟﺪ‪‬ﺎ‬
‫‪،‬ﺃﻣﺎ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻓﻜﺎﻥ ﻳﺪﺭﺱ ﰲ ﺍﳉﺎﻣﻊ‪"...‬‬
‫ﻛﻤﺎ ﳝﻜﻨﻨﺎ ﺍﳊﻜﻢ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﻭﺩﻋﺔ ﺑﺄ‪‬ﺎ ﻣﺘﺤﺮﻛﺔ ﺃﻳﻀﺎ ﻷ‪‬ﺎ ﻋﺮﻓﺖ ﺗﻄﻮﺭﺍﺕ ﳐﺘﻠﻔﺔ ﻋﱪ‬
‫ﺍﳊﻜﺎﻳﺔ ﺑﺪﺀﺍ ﺑﻮﻻﺩ‪‬ﺎ "ﺇﱃ ﺃﻥ ﻭﺿﻌﺖ ﺍﻷﻡ ﲪﻠﻬﺎ ﻭﻛﺎﻧﺖ ﺑﻨﺘﺎ ﻓﻔﺮﺣﺖ" ﰒ ﺷﺒﺎ‪‬ﺎ "ﻭﻣﺮﺕ ﺍﻟﺴﻨﲔ‬
‫ﻭﺃﺻﺒﺤﺖ ﺍﻟﺒﻨﺖ ﺷﺎﺑﺔ ﲨﻴﻠﺔ ﺟﺪﺍ‪ ،"...‬ﻓﺰﻭﺍﺟﻬﺎ"ﻋﺎﺷﺖ ﺑﻌﺪ ﺫﻟﻚ ﻭﺩﻋﺔ ﻣﻊ ﺍﻟﻔﺎﺭﺱ ﺍﻟﺼﻴﺎﺩ‪،‬‬
‫ﻭﺃﳒﺒﺖ ﻣﻨﻪ ﻃﻔﻼ‪ "...‬ﻭﻣﺎ ﻳﻼﺣﻆ ﻋﻠﻰ ﺷﺨﺼﻴﺎﺕ ﺍﳊﻜﺎﻳﺎﺕ ﺍﳌﺨﺘﺎﺭﺓ ﺃﻧﻪ ﳝﻜﻦ ﺗﺼﻨﻴﻔﻬﺎ ﺇﱃ‬
‫ﺷﺨﺼﻴﺎﺕ ﻣﻌﺮﻓﺔ ﻟﺬﻛﺮ ﺍﲰﻬﺎ"ﴰﺴﺔ‪ ،‬ﻏﻼﻡ ﺍﻟﻠﻴﻞ‪ ،‬ﻭﺩﻋﺔ‪ ،‬ﺳﺘﻮﺕ‪ ،‬ﺍﻟﺬﺋﺐ‪ ،‬ﺍﻟﻘﻨﻔﺪ‪ "...‬ﻭﺃﺧﺮﻯ‬
‫ﻧﻜﺮﺓ ﻛﻘﻮﻟﻨﺎ‪" :‬ﻛﺎﻳﻦ ﻭﺍﺣﺪ "ﺃﻭ ﻛﻤﺎ ﻟﻮﺣﻆ ﰲ ﺣﻜﺎﻳﺘﻨﺎ "ﺳﺒﻌﺔ ﻧﺴﻮﺓ‪،‬ﺻﻴﺎﺩ ﻋﺠﻮﺯ‪ ،‬ﺯﻭﺟﺘﻪ‪،‬‬
‫ﺳﺒﻌﺔ ﺃﺑﻨﺎﺀ‪ ،‬ﺯﻭﺟﺎ‪‬ﻢ ﺍﳋﺎﺩﻣﺎﺕ‪،"...‬ﻛﻤﺎ ﻧﻠﻤﺢ ﰲ ﺑﻌﺾ ﺣﻜﺎﻳﺎﺗﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﺇﻥ ﱂ ﻧﻘﻞ ﻛﻠﹼﻬﺎ‬
‫ﺍﺭﺗﺒﺎﻁ ﻋﻨﺎﻭﻳﻨﻬﺎ‪ ،‬ﺑﺄﺑﻄﺎﳍﺎ ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ‪ ،‬ﺍﻟﺬﻳﺐ ﻭ ﺍﻟﻘﻨﻔﻮﺩ‪ ،‬ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‪.‬ﻭﻫﺬﺍ ﺭﺍﺟﻊ‬
‫ﻷﳘﻴﺔ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻟﺒﻄﻠﺔ ﺍ‪‬ﺴ‪‬ﺪﺓ ﻟﻠﻨﻤﻮﺫﺝ ﺍﻹﻧﺴﺎﱐ "ﺍﻟﺬﻱ ﻳﻨﺰﻉ ﻟﻠﻜﻤﺎﻝ‪ ،‬ﻳﺘﻤﺘﻊ ﺑﺼﻔﺎﺕ‬
‫ﺗﺪﻋﻮ ﻟﻺﻋﺠﺎﺏ ﻭﺍﻟﺘﻘﺪﻳﺮ‪ ،‬ﺗﺘﻌﻠﻖ ﺑﻪ ﻧﻔﻮﺱ ﺍﳌﺘﻠﻘﲔ‪ ،‬ﺇﺫ ﺃ‪‬ﺎ ﲡﺪ ﻓﻴﻪ ﺍﳌﺜﻞ ﺍﻷﻋﻠﻰ‪ ،‬ﻭﲡﺪ ﻓﻴﻪ ﻭﰲ‬
‫ﺃﻋﻤﺎﻟﻪ ﺍﻟﺒﻄﻮﻟﻴﺔ ﺇﺷﺒﺎﻋﺎ ﻟﻠﺤﺎﺟﺔ")‪.(1‬‬
‫ﺑﻌﺪ ﻣﺎ ﰎ ﻋﺮﺿﻪ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺇﻥ ﺍﻟﺸﺨﺼﻴﺔ ﺑﺄﻧﻮﺍﻋﻬﺎ ﺍﳌﺘﻌﺪﺩﺓ ﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﻋﻨﺼﺮ ﺃﺳﺎﺳﻲ‬
‫ﻣﺸﻜﻞ ﻟﻠﺒﻨﺎﺀ ﺍﻟﻘﺼﺼﻲ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﳏﺎﻭﻟﺔ ﺇﺳﻘﺎﻃﻬﺎ ﻣﻨﻪ ﺃﻭ ﺇﳘﺎﳍﺎ ﻫﻮ ﺇﺳﻘﺎﻁ ﻟﻠﺤﻜﺎﻳﺔ‬
‫ﺫﺍ‪‬ﺎ‪.‬‬

‫)‪ (1‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ ﺹ ‪.91‬‬

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 ‫ﺛﺎﻟﺜﺎ‪ -‬اﻟﺰﻣﻦ ﻓﻲ اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ‬
‫ﺗﺘﻮﻓﹼﺮ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﻭﺳﺎﺋﻞ ﻓﻨﻴﺔ ﻭﲨﺎﻟﻴﺔ ﺧﺎﺻﺔ‪ ،‬ﺗﺸﺘﺮﻙ ﻓﻴﻬﺎ ﻣﻊ ﺑﻘﻴﺔ ﺍﻟﻔﻨﻮﻥ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﺍﻟﺴﺮﺩﻳﺔ‪ ،‬ﻭﺗﻨﻔﺮﺩ ‪‬ﺎ ﻋﻦ ﺍﻟﻔﻨﻮﻥ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﻭﻟﻌﻞﹼ ﻣﻦ ﺑﲔ ﺃﻫﻢ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﻜﻮ‪‬ﻧﺔ ﻟﻠﺤﻜﺎﻳﺔ ﻋﻨﺼﺮ ﺍﻟﺰﻣﻦ ﺍﻟﺬﻱ ﻛﺎﻥ ﻭﻻ ﺯﺍﻝ ﻳﺜﲑ ﺍﻟﻜﺜﲑ ﻣﻦ‬
‫ﺍﻻﻫﺘﻤﺎﻡ ﳌﺎ ﻟﻪ ﰲ ﺑﻨﺎﺀ ﺍﻟﻘﺼﺔ ﻣﻦ ﺩﻭﺭ"ﻳﺸﺒﻪ ﺫﻟﻚ ﺍﻟﺬﻱ ﻳﻠﻌﺒﻪ ﺍﻟﻠﻮﻥ ﰲ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺰﻳﺘﻴﺔ‪ ،‬ﻓﻬﻮ ﻳﻌﻄﻲ‬
‫ﻟﻠﺤﺪﺙ ﺻﺒﻐﺔ ﺧﺎﺻﺔ ﺗﺸﲑ ﻟﻠﺤﲔ ﺍﻟﺬﻱ ﻭﻗﻊ ﻓﻴﻪ‪.(1)"...‬‬
‫ﺇﻥﹼ ﺻﻌﻮﺑﺔ ﺍﻟﻘﺒﺾ ﻋﻠﻰ ﻣﻌﲎ ﳏﺪﺩ ﻭﺩﻗﻴﻖ ﻟﻠﺰﻣﻦ ﻗﻀﻴﺔ ﺷﻐﻠﺖ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ ﻭﺍﻟﻨﻘﺎﺩ ﺑﻞ‬
‫ﻭﺭﺟﺎﻝ ﺍﻟﺪﻳﻦ ﺃﻳﻀﺎ‪.‬‬
‫ﻓﻔﻲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ ﻳﻘﻮﻝ ﺍﻟﻘﺪﻳﺲ ﺃﻭﻏﺴﻄﲔ"ﺇﺫﺍ ﱂ ﻳﺴﺄﻟﲏ ﺃﺣﺪ ﻋﻦ ﺍﻟﺰﻣﻦ ﻓﺈﻧ‪‬ﲏ ﺃﻋﺮﻓﻪ‪ ،‬ﻭﺇﺫﺍ ﺃﺭﺩﺕ‬
‫ﺃﻥ ﺃﺷﺮﺣﻪ ﳌﻦ ﻳﺴﺄﻟﲏ ﻋﻨﻪ ﻓﺈﱐ ﻻ ﺃﻋﺮﻓﻪ" )‪ (2‬ﺃﻣﺎ ﺷﻜﺴﺒﲑ ﻓﻴﻘﻮﻝ‪":‬ﳓﻦ ﻧﻠﻌﺐ ﺩﻭﺭ ﺍﳌﻬﺮﺝ ﻣﻊ‬
‫)‪( 3‬‬
‫ﺍﻟﺰﻣﻦ ﻭﺃﺭﻭﺍﺡ ﺍﻟﻌﻘﻼﺀ ﲡﻠﺲ ﻓﻮﻕ ﺍﻟﺴﺤﺎﺏ ﻭﺗﺴﺨﺮ ﻣﻨﺎ "‬
‫ﻓﺈﺫﺍ ﻋﻨﺼﺮ ﺍﻟﺰﻣﻦ ﻳﻌﺪ ﳏﻮﺭﻳﺎ ﻷﻧﻪ ﳛﺪ‪‬ﺩ ﺇﱃ ﺣﺪ ﺑﻌﻴﺪ ﻃﺒﻴﻌﺔ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﺑﻞ ﺇﻥﹼ ﺷﻜﻞ ﺍﳊﻜﺎﻳﺔ‬
‫ﻳﺮﺗﺒﻂ ﺍﺭﺗﺒﺎﻃﺎ ﻭﺛﻴﻘﺎ ﲟﻌﺎﳉﺔ ﻋﻨﺼﺮ ﺍﻟﺰﻣﻦ "ﻓﺎﻟﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ ﻋﻨﺼﺮﺍﻥ ﻳﺘﻔﺎﻋﻼﻥ ﻭﻳﺘﺒﺎﺩﻻﻥ ﺍﻟﺘﺄﺛﲑ ﻭ‬
‫ﺍﻟﺘﺄﺛﺮ ﻭﺍﻹﻧﺴﺎﻥ ﺑﺎﻋﺘﺒﺎﺭﻩ ﳏﻮﺭﺍ ﻟﻠﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ ﻓﻬﻮ ﻭﺍﻗﻊ ﺣﺘﻤﺎ ﲢﺖ ﺗﺄﺛﲑ ﻣﺰﺩﻭﺝ ﻣﻦ ﻫﺬﻳﻦ‬
‫ﺍﻟﻌﻨﺼﺮﻳﻦ ﺍﻟﻘﻄﺒﲔ‪ ،‬ﻓﺈﻥ ﺍﻟﻜﺎﺗﺐ ﻣﻬﻤﺎ ﻛﺎﻥ ﻧﻮﻉ ﺧﻴﺎﻟﻴﺔ ﺃﻋﻤﺎﻟﻪ‪ ،‬ﻻ ﳝﻜﻦ ﺃﻥ ﻳﺘﺨﻠﻰ ﻋﻦ ﻫﺬﻳﻦ‬
‫)‪. ( 4‬‬
‫ﺍﻟﻌﻨﺼﺮﻳﻦ‪ ،‬ﻭﻻ ﳝﻜﻦ ﻟﻠﺪﺍﺭﺱ ﻛﺬﻟﻚ ﺃﻥ ﻳﻬﻤﻞ ﺍﻻﻫﺘﻤﺎﻡ ‪‬ﻤﺎ ﻓﻬﻤﺎ ﻣﺘﺮﺍﺑﻄﺎﻥ ﺷﺪﻳﺪ ﺍﻻﺭﺗﺒﺎﻁ"‬

‫)‪ (1‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺹ ‪.112‬‬
‫)‪ (2‬ﺃﲪﺪ ﲪﺪ ﺍﻟﻨﻌﻴﻤﻲ ‪ :‬ﺇﻳﻘﺎﻉ ﺍﻟﺰﻣﻦ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭ ﺍﻟﻨﺸﺮ ﻁ‪2004 ،1‬ﻡ ‪ ،‬ﺹ ‪.16‬‬
‫)‪ (3‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.16‬‬
‫)‪ (4‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.112‬‬
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‫ﻭﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥﹼ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻜﺜﲑﺓ ﻟﻠﺰﻣﻦ ﻗﺪ‪‬ﻣﺖ ﻟﻪ ﺗﺼﻨﻴﻔﺎﺕ ﻋﺪﻳﺪﺓ ﺇﻻﹼ ﺃ‪‬ﺎ ﺃﲨﻌﺖ ﻋﻠﻰ‬
‫ﻛﻮﻥ ﻗﻀﺎﻳﺎ ﺍﻟﺰﻣﻦ ﻫﻲ ﻗﻀﺎﻳﺎ ﻣﺮﻛﺒﺔ ﰲ ﺍﻟﻌﻤﻞ ﺍﳊﻜﺎﺋﻲ‪.‬‬
‫ﻭﻋﻠﻰ ﻫﺬﺍ ﺍﻻﻋﺘﺒﺎﺭ ﻗﺴﻤﻮﺍ ﺍﻟﺰﻣﻦ ﺇﱃ ﻧﻮﻋﲔ ‪:‬‬
‫ﺃ‪ -‬ﺍﻟﺰﻣﻦ ﺍﻟﺪﺍﺧﻠﻲ‪.‬‬
‫ﺏ‪-‬ﺍﻟﺰﻣﻦ ﺍﳋﺎﺭﺟﻲ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺰﻣﻦ ﺍﻟﺪﺍﺧﻠﻲ ﻓﻴﺸﺘﻤﻞ ‪:‬‬
‫ﺯﻣﻦ ﺍﻟﻘﺼﺔ‪ :‬ﻭﻫﻮ ﺯﻣﻦ ﺍﳌﺎﺩﺓ ﺍﳊﻜﺎﺋﻴﺔ ﰲ ﺷﻜﻠﻬﺎ ﻣﺎ ﻗﺒﻞ ﺍﳋﻄﺎﰊ‪ ،‬ﺃﻱ ﺯﻣﻦ ﺃﺣﺪﺍﺙ‬
‫) ‪(1‬‬
‫ﺍﻟﻘﺼﺔ ﰲ ﻋﻼﻗﺘﻬﺎ ﺑﺎﻟﺸﺨﺼﻴﺎﺕ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﺯﻣﻦ ﺍﳋﻄﺎﺏ‪ :‬ﻭﻫﻮ ﺍﻟﺰﻣﻦ ﺍﻟﺬﻱ ﺗﻌﻄﻰ ﻓﻴﻪ ﺍﻟﻘﺼﺔ ﺯﻣﻨﻴﺘﻬﺎ ﺍﳋﺎﺻﺔ ﻣﻦ ﺧﻼﻝ ﺍﳋﻄﺎﺏ‬
‫) ‪(2‬‬
‫ﺍﻟﺬﻱ ﺗﱪﺯﻩ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﻟﺮﺍﻭﻱ ﻭﺍﳌﺮﻭﻱ ﻟﻪ‪.‬‬
‫ﺯﻣﻦ ﺍﻟﻨﺺ ‪ :‬ﻭﻫﻮ ﺍﻟﺰﻣﻦ ﺍﻟﺬﻱ ﻳﺘﺠﺴﺪ ﻣﻦ ﺧﻼﻝ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﱵ ﻳﻘﻮﻡ ‪‬ﺎ ﺍﻟﻜﺎﺗﺐ ﰲ ﳊﻈﺔ‬
‫ﺯﻣﻨﻴﺔ ﳐﺘﻠﻔﺔ ﻋﻦ ﺯﻣﻦ ﺍﻟﻘﺼﺔ ﺃﻭ ﺍﳋﻄﺎﺏ ‪ ،‬ﻭﺍﻟﱵ ﻣﻦ ﺧﻼﳍﺎ ﻳﺘﺠﺴﺪ ﺯﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻭﺯﻣﻦ ﺍﻟﻘﺮﺍﺀﺓ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺰﻣﻦ ﺍﳋﺎﺭﺟﻲ‪ :‬ﻓﻴﺸﻤﻞ ﺯﻣﻦ ﺍﻟﻜﺎﺗﺐ ﻭﺯﻣﻦ ﺍﻟﻘﺎﺭﺉ ﺃﻳﻀﺎ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺎﻟﺰﻣﻦ ﺍﳋﺎﺭﺟﻲ ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻮ ﺣﺘﻤﺎ ﺫﻟﻚ ﺍﳌﺎﺿﻲ ﺍﻟﺬﻱ ﺗﺪﻝ ﻋﻠﻴﻪ ﻭﻣﻦ‬
‫ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻟﺪﺍﻟﺔ ﻋﻠﻰ ﺫﻟﻚ ‪) :‬ﳛﻜﻰ ﺃﻧﻪ ﰲ ﻗﺪﱘ ﺍﻟﺰﻣﺎﻥ ﻛﺎﻥ ﺳﻠﻄﺎﻥ‪ (...‬ﺃﻭ )ﻛﺎﻧﺖ ﺍﻣﺮﺃﺓ‬
‫ﻭﻏﲑﻫﺎ(‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺰﻣﻦ ﺍﻟﺪﺍﺧﻠﻲ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻓﺈﻧﻨﺎ ﻧﻘﺼﺪ ﺑﻪ"ﺍﻟﺰﻣﻦ ﺍﻟﺬﻱ ﻳﺘﺼﻮﺭﻩ ﺍﻟﺮﺍﻭﻱ ﻟﺴﲑ‬
‫ﺃﺣﺪﺍﺙ ﻗﺼﺘﻪ " )‪.(3‬‬

‫)‪ (1‬ﺇﺩﺭﻳﺲ ﺑﻮﺩﺑﻴﺔ ‪ :‬ﺍﻟﺮﺅﻳﺔ ﻭﺍﻟﺒﻨﻴﺔ ﰲ ﺭﻭﺍﻳﺎﺕ ﺍﻟﻄﺎﻫﺮ ﻭﻃﺎﺭ‪ ،‬ﻁ‪ 1‬ﻗﺴﻨﻄﻴﻨﺔ‪2000 ،‬ﻡ‪ ،‬ﺹ ‪.161‬‬
‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ ‪ ،‬ﺹ ‪.162‬‬
‫)‪ (3‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﻴﺎﱐ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.112‬‬
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‫ﺇﺫﺍ ﻓﺎﻟﺮﻭﺍﺓ ﻗﺪ ﺍﺳﺘﺨﺪﻣﻮﺍ ﺍﻟﺰﻣﻦ ﰲ ﺣﻜﺎﻳﺘﻬﻢ ﺍﻟﺸﻌﺒﻴﺔ ﺍﺳﺘﺨﺪﺍﻣﺎ ﻃﺒﻴﻌﻴﺎ ﻭﱂ ﻳﻜﻦ ﺍﻟﺰﻣﻦ‬
‫ﳏﺪ‪‬ﺩﺍ ﰲ ﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ ﺇﺫ ﳒﺪ ﺑﻌﺾ ﺍﻟﻌﺒﺎﺭﺍﺕ ﺩﻻﻟﺘﻬﺎ ﻣﻄﻠﻘﺔ ﻣﺜﻞ "ﰲ ﺃﺣﺪ ﺍﻷﻳﺎﻡ ﻭﺟﺪ ﻏﻼﻡ‬
‫ﺍﻟﻠﻴﻞ ﺃﺧﺘﻪ ﴰﺴﺔ ﺗﺒﻜﻲ"‪ ،‬ﻭﻛﺬﻟﻚ ﻋﺒﺎﺭﺓ "ﰲ ﺃﺣﺪ ﺍﻷﻳﺎﻡ ﻣﺮ ﻓﺎﺭﺱ‪ ،"...‬ﻭﻏﲑﻫﺎ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥ ﺍﻟﺪﺍﺭﺳﲔ ﰲ ﳎﺎﻝ ﲢﻠﻴﻞ ﺍﻟﺒﻨﻴﺔ ﺍﻟﺰﻣﻨﻴﺔ ﺿﻤﻦ ﺍﳋﻄﺎﺏ ﺍﻟﺮﻭﺍﺋﻲ‬
‫ﻛﺎﻥ ﳍﻢ ﺍﻟﻔﻀﻞ ﰲ ﺭﺻﺪ ﳐﺘﻠﻒ ﺍﻟﺘﺤﻠﻴﻼﺕ ﺍﻟﻠﺴﺎﻧﻴﺔ ﻟﻌﻨﺼﺮ ﺍﻟﺰﻣﻦ‪.‬‬
‫ﻭﻟﻌﻞ ﻣﺎ ﻗﺎﻡ ﺑﻪ ﺟﲑﺍﺭ ﺟﻴﻨﺎﺕ ‪ G.Genette‬ﺧﲑ ﺩﻟﻴﻞ ﻋﻠﻰ ﺫﻟﻚ‪ ،‬ﺣﻴﺚ ﺍﺳﺘﻄﺎﻉ ﻫﺬﺍ‬
‫ﺍﻷﺧﲑ ﺃﻥ ﳝﻴ‪‬ﺰ ﺑﲔ ﺯﻣﻦ ﺍﻟﻔﻌﻞ ﺍﻟﺮﻭﺍﺋﻲ‪ ،‬ﻭﺯﻣﻦ ﺍﻟﻔﻌﻞ ﺍﻟﻨﺤﻮﻱ‪ ،‬ﻓﻌﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺧﻀﻮﻉ ﺍﻟﺰﻣﻨﻴﲔ‬
‫ﻟﻠﻤﺎﺿﻲ‪ ،‬ﺇﻻﹼ ﺃﻥ ﺍﻟﻔﻌﻞ ﺍﻟﻨﺤﻮﻱ ﻳﺸﲑ ﺇﻻ ﺃﺣﺪﺍﺙ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﱵ ﻭﻗﻌﺖ ﰲ ﺍﳌﺎﺿﻲ‪،‬ﺃﻣﺎ ﺯﻣﻦ ﺍﻟﻔﻌﻞ‬
‫ﺍﻟﺮﻭﺍﺋﻲ ﻓﺈﻧﻪ ﺍﳊﺎﺿﺮ ‪،‬ﻷﻥ ﺍﻷﺣﺪﺍﺙ ﺗﺘﺤﺪ‪‬ﺩ ﻣﻊ ﻓﻌﻞ ﺍﻟﻘﺮﺍﺀﺓ ﻭﻣﻦ ﳕﺎﺫﺟﻪ ﰲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ‬
‫ﺍﻟﻠﻴﻞ‪" ،‬ﻭﰲ ﺍﻟﺼﺒﺎﺡ ﻗﺎﻡ ﺍﳌﺆﺫﻥ ﻟﻴﺆﺫﻥ ﺍﻟﻔﺠﺮ‪ ،‬ﻭﺑﺪﻝ ﺃﻥ ﻳﻘﻮﻝ "ﺍﷲ ﺃﻛﱪ" ﻗﺎﻝ "ﺍﷲ ﺃﻛﻔﺮ" ﻓﻘﺎﻝ ﻟﻪ‬
‫ﺍﳌﻠﻚ ‪ :‬ﺍﺳﺘﻐﻔﺮ ﺭﺑﻚ‪".‬‬
‫ﻟﻘﺪ ﺍﺳﺘﻄﺎﻉ ﺟﲑﺍﺭ ﺟﻴﻨﺎﺕ ﺃﻥ ﳛﺪ‪‬ﺩ ﺯﻣﻦ ﺍﻟﻔﻌﻞ ﺍﻟﺮﻭﺍﺋﻲ ﺑﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺗﻘﻨﻴﺎﺕ ﺃﺭﺑﻊ‬
‫ﻫﻲ‪ :‬ﺍﳋﻼﺻﺔ ‪ Sommaire‬ﻭﺍﻟﻮﻗﻔﺔ ‪ Pause‬ﻭﺍﻟﻘﻄﻊ ﺃﻭ ﺍﳊﺬﻑ ‪ Ellipse‬ﻭﺍﳌﺸﻬﺪ‬
‫‪.Scene‬‬
‫ﺃﻣﺎ ﺍﳋﻼﺻﺔ ﻓﻬﻲ "ﺃﻥ ﻳﺴﺮﺩ ﺍﻟﻜﺎﺗﺐ ﺍﻟﺮﺍﻭﻱ ﺃﺣﺪﺍﺛﺎ ﻭﻭﻗﺎﺋﻊ ﺟﺮﺕ ﰲ ﻣﺪﺓ ﺯﻣﻨﻴﺔ ﻃﻮﻳﻠﺔ‬
‫ﰲ ﺻﻔﺤﺎﺕ ﻗﻠﻴﻠﺔ ﺃﻭ ﺑﻌﺾ ﺍﻟﻔﻘﺮﺍﺕ ﺃﻭ ﰲ ﲨﻞ ﻣﻌﺪﻭﺩﺓ‪ ،‬ﺃﻱ ﺃﻧﻪ ﻻ ﻳﻌﺘﻤﺪ ﺍﻟﺘﻔﺎﺻﻴﻞ‪ ،‬ﺑﻞ ﳝﺮ‪ ‬ﻋﻠﻰ‬
‫"‪(1 ).‬‬
‫ﺍﻟﻔﺘﺮﺓ ﺍﻟﺰﻣﻨﻴﺔ ﻣﺮﻭﺭﺍ ﺳﺮﻳﻌﺎ ﻟﻌﺪﻡ ﺃﳘﻴﺘﻬﺎ‬
‫ﻭﰲ ﺣﻜﺎﻳﺘﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﺗﻈﻬﺮ ﺗﻘﻨﻴﺔ ﺍﳋﻼﺻﺔ ﰲ ﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ‪" ،‬ﻋﺎﺷﺖ ﺑﻌﺪ‬
‫ﺫﻟﻚ ﻭﺩﻋﺔ ﻣﻊ ﺍﻟﻔﺎﺭﺱ ﺍﻟﺼﻴﺎﺩ‪ ،‬ﻭﺃﳒﺒﺖ ﻣﻨﻪ ﻃﻔﻼ(‪ ،‬ﻛﻤﺎ ﺗﻈﻬﺮ ﺍﳋﻼﺻﺔ ﰲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ‬
‫ﺍﻟﻠﻴﻞ‪ ،‬ﻭﺧﺎﺻﺔ ﰲ ﺑﺪﺍﻳﺘﻬﺎ‪.‬‬
‫"ﻓﺤﻀﺮﺕ ﺳﺒﻌﺔ ﻧﺴﻮﺓ ﻋﺎﺭﺿﺎﺕ ﺃﻧﻔﺴﻬﻦ ﻋﻠﻰ ﺍﳌﻠﻚ ﻭﻛﺎﻧﺖ ﻛﻞ ﻭﺍﺣﺪﺓ ﺗﻘﻮﻝ‪ :‬ﺇﺫﺍ‬
‫ﺗﺰﻭﺟﺖ ﺍﳌﻠﻚ ﻧﺪﻳﺮ ﻛﺬﺍ ﻭﻛﺬﺍ‪ ...‬ﻓﺘﺰﻭﺝ ﺑﺎﻷﻭﱃ ﻓﺘﺮﻛﻬﺎ ﻭﺗﺰﻭﺝ ﺑﺎﻟﺜﺎﻧﻴﺔ ‪."...‬‬
‫ﺃﻣﺎ ﺍﻟﻮﻗﻔﺔ ﺃﻭ ﺍﻻﺳﺘﺮﺍﺣﺔ ﻓﺘﺤﺪﺙ ﻋﻨﺪﻣﺎ ﻳﻮﻗﻒ ﺍﻟﻜﺎﺗﺐ ﺃﻭ ﺍﳊﺎﻛﻲ ﺗﻄﻮﺭ ﺍﻟﺰﻣﻦ ﻭﻧﺼﺎﺩﻑ‬
‫ﻫﺬﻩ ﺍﻟﻮﻗﻔﺎﺕ ﺍﻟﺰﻣﻨﻴﺔ ﺃﺛﻨﺎﺀ ﺍﻟﻮﺻﻒ ﺃﻭ ﺍﳋﻮﺍﻃﺮ ﻭﻳﺴﻤﻴﻬﺎ ﺟﲑﺍﺭ ﺟﻴﻨﺎﺕ ﺍﻟﻮﻗﻔﺎﺕ ﺍﻟﻮﺻﻔﻴﺔ ﻭﻣﻦ‬
‫ﳕﺎﺫﺟﻬﺎ ﺗﻠﻚ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ "ﻓﺄﰉ ﺃﻥ ﻳﻔﺘﺤﻬﺎ ﺣﱴ ﺗﻌﻮﺩ ﺇﱃ ﺑﻴﺘﻪ‪ ،‬ﻭﻋﻨﺪ‬

‫)‪ (1‬ﺣﺴﻦ ﲝﺮﺍﻭﻱ ‪ :‬ﺑﻨﻴﺔ ﺍﻟﺸﻜﻞ ﺍﻟﺮﻭﺍﺋﻲ‪ ،‬ﺍﻟﻔﻀﺎﺀ ﺍﻟﺰﻣﻦ‪،‬ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﻁ ‪1990، 1‬ﻡ‪،‬ﺹ ‪.145‬‬
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‫ﻭﺻﻮﻟﻪ ﺍﺟﺘﻤﻊ ﻣﻊ ﺯﻭﺟﺘﻪ ﻭﻓﺘﺤﻬﺎ‪ ،‬ﻓﺈﺫﺍ ﺑﺎﻟﺪﺍﺭ ﲤﺘﻸ ﺿﻴﺎﺀ ﻓﻔﺮﺣﺎ ﻓﺮﺣﺎ ﺷﺪﻳﺪﺍ ﻷ‪‬ﻤﺎ ﻛﺎﻧﺎ‬
‫ﳏﺮﻭﻣﲔ ﻣﻦ ﺍﻹﳒﺎﺏ ﻓﻘﺎﻟﺖ ﺍﻟﺰﻭﺟﺔ‪."....‬‬
‫ﻛﻤﺎ ﻧﻠﻤﺤﻬﺎ ﰲ ﺣﻜﺎﻳﺔ ﺍﻟﺬﺋﺐ ﻭﺍﻟﻘﻨﻔﺪ ﻋﻨﺪﻣﺎ ﺍﺧﺘﺎﺭ ﺍﻟﺮﺍﻭﻱ ﻭﻗﻔﺔ ﻭﺻﻔﻴﺔ ﻳﺮﺳﻢ ﻣﻦ‬
‫ﺧﻼﳍﺎ ﺻﻮﺭﺓ ﺍﳊﺒﻞ ﻭﺍﻟﺪﻟﻮ ﻗﺎﺋﻼ "ﻣﻊ ﺍﻟﻌﻠﻢ ﺃﻥ ﺍﻟﺪﻟﻮ ﺍﳌﻮﺟﻮﺩ ﰲ ﺍﻟﺒﺌﺮ ﻣﺮﺗﺒﻂ ﲝﺒﻞ ﺁﺧﺮ ﰲ ﺃﺳﻔﻠﻪ‬
‫ﺇﺫﺍ ﺍﺭﺗﻔﻊ ﺍﻟﺪﻟﻮ ﻳﻨﺰﻝ ﺍﳊﺒﻞ ‪ ،‬ﻭ ﺍﻟﻌﻜﺲ ﺇﺫﺍ ﻧﺰﻝ ﺍﻟﺪﻟﻮ ﻳﺮﺗﻔﻊ ﺍﳊﺒﻞ‪."...‬‬
‫ﺃﻡ ﺍﻟﺘﻘﻨﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ ﻓﻬﻲ ﺍﻟﻘﻄﻊ ﺃﻭ ﺍﳊﺬﻑ ﻭﻫﻲ ﺗﻘﻨﻴﺔ ﺯﻣﻨﻴﺔ ﺗﻘﻀﻲ ﺑﺈﺳﻘﺎﻁ ﻓﺘﺮﺓ ﻃﻮﻳﻠﺔ ﺃﻭ‬
‫)‪( 2‬‬
‫ﻗﺼﲑﺓ ﻣﻦ ﺯﻣﻦ ﺍﻟﻘﺼﺔ ﻭﻋﺪﻡ ﺍﻟﺘﻄﺮﻕ ﳌﺎ ﺟﺮﻯ ﻓﻴﻬﺎ ﻣﻦ ﻭﻗﺎﺋﻊ ﻭﺃﺣﺪﺍﺙ‪.‬‬
‫ﻫﺬﻩ ﺍﻟﺘﻘﻨﻴﺔ ﻭﺍﺭﺩﺓ ﺑﻜﺜﺮﺓ ﰲ ﺣﻜﺎﻳﺘﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺨﺘﺎﺭﺓ ﻧﺬﻛﺮ ﻣﻨﻬﺎ ﻣﺎ ﻭﺭﺩ ﰲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ‬
‫ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ‪"،‬ﺭﺍﺡ ﺯﻣﺎﻥ ﻭﺟﺎ ﺯﻣﺎﻥ‪ ،‬ﻭﻛﱪ ﺍﻟﻮﻟﺪﺍﻥ ﻭﺻﺎﺭﺕ ﺍﻟﺒﻨﺖ ﻓﺘﺎﺓ ﺷﺎﺑﺔ ﲨﻴﻠﺔ‪ ،‬ﻭﺍﻟﻮﻟﺪ ﺻﺒﻴﺎ‬
‫ﻳﺎﻓﻌﺎ " ﺃﻣﺎ ﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ‪ ،‬ﻓﻨﻠﻤﺢ ﺗﻘﻨﻴﺔ ﺍﳊﺬﻑ ﻓﻴﻬﺎ ﻣﻦ ﺧﻼﻝ ﺍﳌﻘﻄﻊ ﺍﻟﺘﺎﱄ"ﻭﻣﺮﺕ ﺍﻷﻳﺎﻡ ﺇﻻ ﺃﻥ‬
‫ﻭﺿﻌﺖ ﺍﻷﻡ ﲪﻠﻬﺎ ﻭﻛﺎﻧﺖ ﺑﻨﺘﺎ"‪ ،‬ﻛﻤﺎ ﳒﺪﻫﺎ ﺃﻳﻀﺎ ﰲ "ﻭﻣﺮ‪‬ﺕ ﺍﻟﺴﻨﲔ ﻭﺃﺻﺒﺤﺖ ﺍﻟﺒﻨﺖ ﺷﺎﺑﺔ‬
‫ﲨﻴﻠﺔ ﺟﺪ‪‬ﺍ"‪" ،‬ﻭﻣﺮﺕ ﺍﻷﻳﺎﻡ ﻭﺍﻷﺷﻬﺮ ﻭﻛﺎﻥ ﺍﻟﻘﻄﻴﻊ ﻳﺰﺩﺍﺩ ﳓﺎﻟﺔ ﻣﺎ ﻋﺪﺍ ﺫﻟﻚ ﺍﳉﻤﻞ ﺍﻷﺻﻢ‪."...‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﳊﺬﻑ ﺛﻼﺛﺔ ﺃﻧﻮﺍﻉ ﻫﻲ‪:‬‬
‫ﺣﺬﻑ ﳏﺪﺩ‪ :‬ﺍﳊﺬﻑ ﺍﻟﺬﻱ ﻳﺸﲑ ﺇﻟﻴﻪ ﺍﻟﻜﺎﺗﺐ ﰲ ﻋﺒﺎﺭﺍﺕ ﻣﻮﺟﺰﺓ‪ ،‬ﻭﻫﺬﺍ ﻳﺘﻢ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﺇﻋﻼﻥ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺰﻣﻨﻴﺔ ﺍﶈﺬﻭﻓﺔ ﺻﺮﺍﺣﺔ ﻛﻘﻮﻟﻨﺎ ﰲ ﺣﻜﺎﻳﺘﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﻭﻣﺮ‪‬ﺕ ﺍﻷﻳﺎﻡ ﻭﺍﻷﺷﻬﺮ‪ ،‬ﻭ ﻣﺮﺕ‬
‫ﺍﻟﺴﻨﲔ‪....‬‬
‫ﺣﺬﻑ ﺿﻤﲏ‪ :‬ﻭﻫﻮ ﺍﳊﺬﻑ ﺍﻟﺬﻱ ﻳﺴﺘﻄﻴﻊ ﺍﻟﻘﺎﺭﺉ ﺃﻥ ﻳﺴﺘﺨﻠﺼﻪ ﻣﻦ ﺍﻟﻨﺺ ﻭﺫﻟﻚ‬
‫ﺑﺘﻘﻨﻴﺎﺕ ﳐﺘﻠﻔﺔ ﻛﺄﻥ ﻳﺘﺮﻙ ﺍﻟﻜﺎﺗﺐ ﺑﻴﺎﺿﺎ ﻋﻠﻰ ﺍﻟﺼﻔﺤﺔ ﺃﻭ ﺑﺎﻻﻧﺘﻘﺎﻝ ﺇﱃ ﺻﻔﺤﺔ ﺟﺪﻳﺪﺓ‪ ،‬ﻭﻫﺬﺍ ﻣﻊ‬
‫ﺍﻟﻌﻠﻢ ﺧﺎﺹ ﲟﺎ ﻫﻮ ﻣﺪﻭ‪‬ﻥ‪.‬‬

‫ﺣﺬﻑ ﺍﻓﺘﺮﺍﺿﻲ‪ :‬ﻭﻫﻮ ﺍﳊﺬﻑ ﺍﻟﺬﻱ ﳛﺲ‪ ‬ﺑﻪ ﺍﻟﻘﺎﺭﺉ ﺩﻭﻥ ﺃﻥ ﻳﺸﲑ ﺇﻟﻴﻪ ﺍﻟﺮﺍﻭﻱ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺘﻘﻨﻴﺔ ﺍﻟﺮﺍﺑﻌﺔ ﻓﻬﻲ ﺍﳌﺸﻬﺪ ﺍﻟﺬﻱ ﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﺗﻘﻨﻴﺔ ﻣﻦ ﺗﻘﻨﻴﺎﺕ ﺍﻟﺴﺮﺩ‪ ،‬ﲢﺘﻞ ﻣﻮﻗﻌﺎ‬
‫ﻫﺎﻣﺎ ﰲ ﺳﲑ ﺍﳊﺮﻛﺔ ﺍﻟﺰﻣﻨﻴﺔ ﻟﻠﺮﻭﺍﻳﺔ ﻭﻳﻘﺼﺪ ﺑﺎﳌﺸﻬﺪ "ﺍﳌﻘﻄﻊ ﺍﳊﻮﺍﺭﻱ ﺍﻟﺬﻱ ﻳﺄﰐ ﻓﻴﻪ ﻛﺜﲑ ﻣﻦ‬

‫)‪ (1‬ﺣﺴﻦ ﲝﺮﺍﻭﻱ ‪ :‬ﺍﳌﺮﺟﻊ ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪.156‬‬

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‫ﺍﻟﺮﻭﺍﻳﺎﺕ ﰲ ﺗﻀﺎﻋﻴﻒ ﺍﻟﺴﺮﺩ‪ ،‬ﺇﻥﹼ ﺍﳌﺸﺎﻫﺪ ﺗﺸﻜﻞ ﺑﺸﻜﻞ ﻋﺎﻡ ﻟﻠﹼﺤﻈﺔ ﺍﻟﱵ ﻳﺘﻄﺎﺑﻖ ﻓﻴﻬﺎ ﺯﻣﻦ ﺍﻟﺴﺮﺩ‬
‫ﺑﺰﻣﻦ ﺍﻟﻘﺼﺔ ﻣﻦ ﺣﻴﺚ ﻣﺪﺓ ﺍﻻﺳﺘﻐﺮﺍﻕ" )‪.(1‬‬
‫ﻓﻌﻦ ﻃﺮﻳﻖ ﺍﳌﺸﻬﺪ ﻧﻄﻠﻊ ﻋﻠﻰ ﺍﳌﻮﺍﻗﻒ ﻭﺍﶈﺎﻭﻻﺕ ﻭﻋﻠﻰ ﲨﻠﺔ ﻣﻦ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻟﱵ ﺗﺴﻤﺢ‬
‫ﻟﻠﻘﺎﺭﺉ ﻭﺍﳌﺴﺘﻤﻊ ﺃﻥ ﻳﻄﻠﻊ ﻣﺒﺎﺷﺮﺓ ﻋﻠﻰ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺃﻓﻜﺎﺭﻫﺎ ﻭﺣﻴﺎ‪‬ﺎ ﺍﻟﻴﻮﻣﻴﺔ‪ ،‬ﻭﻣﻦ ﳕﺎﺫﺟﻪ ﰲ‬
‫ﺣﻜﺎﻳﺔ ﺍﻟﺬﺋﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ ﺫﻟﻚ ﺍﳌﺸﻬﺪ ﺍﻟﻮﺻﻔﻲ ﺍﳌﺘﻀﻤﻦ ﻫﻼﻙ ﺍﻟﺬﺋﺐ ﻣﻦ ﺧﻼﻝ ﻧﺰﻭﻟﻪ ﺇﱃ ﺍﻟﺒﺌﺮ‬
‫ﻭﺧﺮﻭﺝ ﺍﻟﻘﻨﻔﺪ ﻣﻨﻪ "ﺟﻠﺲ ﺍﻟﺬﺋﺐ ﰲ ﺍﻟﺪﻟﻮ ﺍﻟﻌﻠﻮﻱ‪ ،‬ﻓﺎﺭﺗﻔﻊ ﺍﳊﺒﻞ ﺑﺎﻟﻘﻨﻔﺪ‪ ،‬ﻟﻴﺄﺧﺬﻩ ﺧﺎﺭﺝ ﺍﻟﺒﺌﺮ‬
‫ﻭﻋﻨﺪﻣﺎ ﺗﻘﺎﻃﻊ ﺍﳊﺒﻞ ﻣﻊ ﺍﻟﺪﻟﻮ‪ ،‬ﻗﺎﻝ ﺍﻟﺬﺋﺐ ﻟﻠﻘﻨﻔﺪ ﰲ ﺍﻧﺪﻫﺎﺵ‪ :‬ﻻﻩ ﺭﺍﻙ ﻃﺎﻟﻊ؟ ﺭﺩ‪ ‬ﻋﻠﻴﻪ ﺍﻟﻘﻨﻔﺪ‬
‫ﻗﺎﺋﻼ‪" :‬ﻫﺎﺫﻱ ﻫﻲ ﺍﻟﺪﻧﻴﺎ ﻭﺍﺣﺪ ﻃﺎﻟﻊ ﻭﺍﻵﺧﺮ ﻫﺎﺑﻂ"‪.‬‬
‫ﻣﻦ ﺧﻼﻝ ﲢﻠﻴﻠﻨﺎ ﺍﻟﺴﺎﺑﻖ ﻳﺘ‪‬ﻀﺢ ﺃﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺗﺘﻘﺎﻃﻊ ﻣﻊ ﺍﻟﺮﻭﺍﻳﺔ ﻭﺍﻟﻘﺼﺔ ﰲ ﺃﻣﻮﺭ‬
‫ﻋﺪ‪‬ﺓ ﺧﺎﺻﺔ ﰲ ﳎﺎﻝ ﺑﻨﺎﺋﻬﺎ ﺍﻟﻔﻨ‪‬ﻲ ﺍﻟﻘﺎﺋﻢ ﻋﻠﻰ ﺍﻟﻮﺻﻒ ﻭﺍﻟﺴﺮﺩ ﻭﺍﳊﻮﺍﺭ ‪ ،‬ﻓﺈﺫﺍ ﻟﻜﻠﻴﻬﻤﺎ‬
‫ﺗﻄﻮﺭﻭﺗﻜﺎﻣﻞ ﻣﻨﻬﺠﻲ ﻣﻮﺣ‪‬ﺪ‪.‬‬

‫)‪ (2‬ﲪﻴﺪ ﳊﻤﻴﺪﺍﱐ‪ :‬ﺑﻨﻴﺔ ﺍﻟﻨﺺ ﺍﻟﺴﺮﺩﻱ ﰲ ﻣﻨﻈﻮﺭ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ ،‬ﺹ ‪.78‬‬
‫‪- 143 -‬‬
 ‫راﺑﻌﺎ‪ -‬اﻟﻤﻜﺎن ﻓﻲ اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ ‪:‬‬
‫‪-1‬ﻣﻔﻬﻮﻡ ﺍﳌﻜﺎﻥ ‪:‬‬
‫ﻭﺭﺩ ﰲ ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ ﻻﺑﻦ ﻣﻨﻈﻮﺭ "ﺍﳌﻜﺎﻥ ﲟﻌﲎ ﺍﳌﻮﺿﻊ‪ ،‬ﻷﻧﻪ ﻣﻮﺿﻊ ﻟﻜﻴﻨﻮﻧﺔ ﺍﻟﺸﻲﺀ ﻓﻴﻪ‪،‬‬
‫ﻭﲨﻌﻪ ﺃﻣﻜﻦ ﻭﺃﻣﺎﻛﻦ ﻭﺃﻣﻜﻨﺔ " )‪. (1‬‬
‫ﻭﳒﺪﻩ ﲟﻌﲎ ﺍﳌﻨﺰﻟﺔ ﰲ ﻗﻮﻟﻪ ﻋﺰ ﻭﺟﻞ‪  :‬ﻗﹸﻞﹾ ﻳﺎ ﻗﻮ‪‬ﻡ ﺍﻋ‪‬ﻤﻠﹸﻮﺍ ﻋﻠﻰ ﻣﻜﺎﻧﺘ‪‬ﻜﹸ ْﻢ ‪(2) ‬ﻓﻤﻜﺎﻧﺔ‬
‫ﺍﻟﻨﺎﺱ ﻫﻲ ﻣﻨﺰﻟﺘﻬﻢ‪.‬‬
‫ﺇﻥﹼ ﻣﻦ ﺍﳌﹸﺴﻠﹼﻢ ﺑﻪ ﺃﻧ‪‬ﻪ ﻻ ﻳﻮﺟﺪ ﻣﻮﺿﻮﻉ ﺑﺪﻭﻥ ﺫﺍﺕ‪ ،‬ﻭﻟﻴﺲ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﺍﳌﻮﺿﻮﻉ ﺷﻴﺌﺎ ﺣﻘﻴﻘﻴﺎ‪ ،‬ﻓﻤﻜﺎﻥ ﺍﻟﺮﻭﺍﻳﺔ ﻋﻤﻮﻣﺎ ﻭﺍﳊﻜﺎﻳﺔ ﻋﻠﻰ ﺍﳋﺼﻮﺹ ﻟﻴﺲ ﺍﳌﻜﺎﻥ ﺍﻟﻄﺒﻴﻌﻲ‬
‫ﺍﻟﺬﻱ ﳓﻴﺎﻩ‪ ،‬ﻷﻥﹼ ﺍﻟﻨ‪‬ﺺ ﺍﳊﻜﺎﺋﻲ ﳜﻠﻖ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻜﻠﻤﺎﺕ ﻣﻜﺎﻧﺎ ﺧﻴﺎﻟﻴﺎ‪ ،‬ﻟﻪ ﻣﻘﻮ‪‬ﻣﺎﺗﻪ ﺍﳋﺎﺻﺔ‬
‫ﻭﺃﺑﻌﺎﺩﻩ ﺍﳌﺘﻤﻴﺰﺓ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥﹼ ﺍﻟﻨﻘﺎﺩ ﻭ ﺍﻟﺪﺍﺭﺳﲔ ﺍﺧﺘﻠﻔﻮﺍ ﰲ ﺗﺴﻤﻴﺔ ﺍﳌﻜﺎﻥ‪ ،‬ﻓﻤﻨﻬﻢ ﻣﻦ ﻳﻄﻠﻖ ﻋﻠﻴﻪ‬
‫ﺍﺳﻢ ﺍﳊﻴﺰ‪ ،‬ﻭﻣﻨﻬﻢ ﻣﻦ ﻳﺴﻤﻴﻪ ﺍﳌﻜﺎﻥ‪ ،‬ﺃﻣﺎ ﺍﳌﺼﻄﻠﺢ ﺍﻟﺸﺎﺋﻊ ﻭﺍﳌﻌﺘﻤﺪ ﰲ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﳊﺪﻳﺜﺔ ﻓﻬﻮ‬
‫ﺍﻟﻔﻀﺎﺀ"ﺍﻟﺬﻱ ﻳﻌﺎﺩﻝ ﻣﻔﻬﻮﻡ ﺍﳌﻜﺎﻥ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﻭﻻ ﻧﻘﺼﺪ ﺑﻪ ﺑﺎﻟﻄﺒﻊ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺗﺸﻐﻠﻪ ﺍﻷﺣﺮﻑ‬
‫)‪( 3‬‬
‫ﺍﻟﻄﺒﺎﻋﻴﺔ ﺍﻟﱵ ﻛﺘﺒﺖ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﻭﻟﻜﻦ ﺫﻟﻚ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺗﺼﻮﺭﻩ ﻗﺼﺘﻨﺎ ﺍﳌﺘﺨﻴﻠﺔ"‬
‫ﻓﺎﳌﻜﺎﻥ ﰲ ﺍﳊﻜﺎﻳﺔ ﳝﺜﹼﻞ ﺍﳌﻮﺍﻃﻦ ﺍﻟﱵ ﺟﺮﺕ ﺍﻷﺣﺪﺍﺙ ﻓﻴﻬﺎ‪ ،‬ﻛﺎﻟﺒﻴﺖ ﻭﺍﳉﺎﻣﻊ ﻭﺍﻟﻐﺎﺑﺔ‬
‫ﻭﺍﻟﻘﺼﺮ‪ ،‬ﻭﺍﻟﺴﻮﻕ ﻭﺍﳌﻘﻬﻰ ﻭﻏﲑﻫﺎ ‪. ...‬‬
‫ﻭﻫﻮ ﺃﻳﻀﺎ ﻻ ﳝﺜﹼﻞ ﳎﻤﻮﻉ ﺍﻷﺷﻴﺎﺀ ﺍﳌﻠﻤﻮﺳﺔ ﻭ ﺍﻟﻈﺎﻫﺮﺓ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻫﻮ ﺍﻟﺬﻱ ﳚﻌﻞ ﻣﻦ‬
‫ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﺘﻠﻘﻲ ﺷﻴﺌﺎ ﳏﺘﻤﻞ ﺍﻟﻮﻗﻮﻉ ﲟﻌﲎ ﻳﻮﻫﻢ ﻭﺍﻗﻌﻴﺘﻬﺎ‪,‬ﺇﻧﻪ "ﻳﻘﻮﻡ ﺑﺎﻟﺪ‪‬ﻭﺭ ﻧﻔﺴﻪ‬
‫ﺍﻟﺬﻱ ﻳﻘﻮﻡ ﺑﻪ ﺍﻟﺪﻳﻜﻮﺭ ﻭ ﺍﳋﺸﺒﺔ ﻭﺍﳌﺴﺮﺡ " )‪.(4‬‬

‫)‪ (1‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ :‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ ﻣﺞ ‪ ، 13‬ﺹ ‪.414‬‬

‫)‪ (2‬ﺳﻮﺭﺓ ﺍﻷﻧﻌﺎﻡ ﺍﻵﻳﺔ ‪.135‬‬
‫)‪ (3‬ﲪﻴﺪ ﳊﻤﻴﺪﺍﱐ ‪ :‬ﺑﻨﻴﺔ ﺍﻟﻨﺺ ﺍﻟﺴﺮﺩﻱ ﰲ ﻣﻨﻈﻮﺭ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ ،‬ﺹ ‪.54‬‬
‫)‪ (4‬ﺳﻴﺰﺍ ﺃﲪﺪ ﻗﺎﺳﻢ ‪ :‬ﺑﻨﺎﺀ ﺍﻟﺮﻭﺍﻳﺔ‪ ،‬ﺹ ‪.75‬‬
‫‪- 144 -‬‬
‫ﻭﻳﺬﻫﺐ ﻏﺎﺳﺘﻮﻥ ﺑﺎﺷﻼﺭ ﰲ ﺣﺪﻳﺜﻪ ﻋﻦ ﺍﳌﻜﺎﻥ "ﻟﻴﺲ ﻣﻜﺎﻧﺎ ﻫﻨﺪﺳﻴﺎ ﺧﺎﺿﻌﺎ ﻟﻘﻴﺎﺳﺎﺕ‬
‫ﻭﺗﻘﺴﻴﻢ ﻣﺴﺎﺡ ﺍﻷﺭﺽ ‪ ،‬ﻭﺇﳕﺎ ﻫﻮ ﺫﻟﻚ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﻋﺎﺷﻪ ﺍﻷﺩﻳﺐ ﻛﺘﺠﺮﺑﺔ‪ ،‬ﻭﺍﳌﻜﺎﻥ ﻻ ﻳ‪‬ﻌﺎﺵ‬
‫)‪( 5‬‬
‫ﻋﻠﻰ ﺷﻜﻞ ﺻﻮﺭ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻳﻌﻴﺶ ﰲ ﺩﺍﺧﻞ ﺟﻬﺎﺯﻧﺎ ﺍﻟﻌﺼﱯ ﻛﻤﺠﻤﻮﻋﺔ ﻣﻦ ﺭﺩﻭﺩ ﺍﻟﻔﻌﻞ"‪.‬‬
‫ﻓﻬﺬﺍ ﺇﺫﻥ ﻳﺆﻛﺪ ﻣﺎ ﻟﻌﻨﺼﺮ ﺍﳌﻜﺎﻥ ﻣﻦ ﺩﻭﺭ ﻓﺎﻋﻞ ﺩﺍﺧﻞ ﺍﻟﻌﻤﻞ ﺍﳊﻜﺎﺋﻲ‪ ،‬ﺇﺫﹾ ﺃﻧ‪‬ﻪ ﳝﺜﹼﻞ‬
‫ﺍﻟﻌﻤﻮﺩ ﺍﻟﻔﻘﺮﻱ ﺍﻟﺮﺍﺑﻂ ﺑﲔ ﺃﺟﺰﺍﺋﻪ‪ ،‬ﻓﻬﻮ ﻋﻨﺼﺮ ﻓﺎﻋﻞ ﻭﻣﻜﻮ‪‬ﻥ ﺟﻮﻫﺮﻱ‪ ،‬ﻳﻨﻄﻠﻖ ﻣﻦ ﺧﻼﻟﻪ ﺍﻟﺮﺍﻭﻱ‪،‬‬
‫ﻟﺒﻠﻮﺭﺓ ﺃﻓﻜﺎﺭﻩ ﻭﺗﻮﺿﻴﺢ ﻭﺟﻬﺔ ﻧﻈﺮﻩ‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻡ ﰲ ﺍﻟﻌﻤﻞ ﺍﻟﺴﺮﺩﻱ ﺑﺪﻭﺭ ﺃﺳﺎﺳﻲ ﻻ ﻳﻘﻞ ﺃﳘﻴﺔ‬
‫ﻋﻦ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﱵ ﺗﺴﺘﻨﺪ ﻟﻠﺸﺨﺼﻴﺎﺕ ﻭﻋﻨﺼﺮ ﺍﻟﺰﻣﻦ ﻭ ﺍﻷﺣﺪﺍﺙ‪.‬‬
‫ﻓﺈﺫﺍ ﻛﺎﻧﺖ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻫﻲ ﺍﻟﱵ ﺗﻀﻊ ﺍﻷﺣﺪﺍﺙ ﻭﺗﻨﺸﺆﻫﺎ ﻛﻤﺎ ﺃﺭﺍﺩ ﺭﺍﻭﻳﻬﺎ ﺃﻭ ﻣﺆﻟﻔﻬﺎ‪،‬‬
‫ﻓﺈﻥ ﺍﳌﻜﺎﻥ ﺃﻭ ﺍﻟﻔﻀﺎﺀ ﻫﻮ ﺍ‪‬ﺎﻝ ﺍﻟﻄﺒﻴﻌﻲ ﺍﻟﺬﻱ ﳛﺘﻀﻦ ﻫﺬﻩ ﺍﻷﺣﺪﺍﺙ ﻭﻳﻌﻄﻴﻬﺎ ﺩﻻﻻﺕ ﳐﺘﻠﻔﺔ‪.‬‬
‫‪-2‬ﺃﻧﻮﺍﻉ ﺍﳌﻜﺎﻥ )ﺍﻟﻔﻀﺎﺀ(‪:‬‬
‫ﺃﺷﺮﻧﺎ ﺳﺎﻟﻔﺎ ﺃﻥ ﺍﳌﻜﺎﻥ ﻋﻨﺼﺮ ﺿﺮﻭﺭﻱ ﻣﻦ ﻋﻨﺎﺻﺮ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺃﻭ ﺍﻟﺮﻭﺍﻳﺔ ﻋﻤﻮﻣﺎ ﺇﺫ‬
‫ﻻ ﳝﻜﻦ ﻟﻠﻤﺘﻠﻘﻲ ﺃﻭ ﺍﻟﻘﺎﺭﺉ ﺃﻥ ﻳﺴﺘﻮﻋﺐ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﶈﺮﻛﺔ ﻟﻠﻌﻤﻞ ﺍﳊﻜﺎﺋﻲ ﰲ ﺳﻠﻮﻛﻬﺎ ﻭﻃﺮﻕ‬
‫ﺗﻔﻜﲑﻫﺎ‪ ،‬ﻭﻻ ﺃﻱ ﺣﺪﺙ ﻣﻦ ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ ﺩﻭﻥ ﺃﻥ ﺗﺴﻨﺪ ﺇﱃ ﺇﻃﺎﺭ ﻣﻜﺎﱐ ﳝﻜﻦ ﺃﻥ ﺗﺘﻔﺎﻋﻞ‬
‫ﻣﻌﻪ ﺧﺎﺻﺔ ﻭﺃﻧﻪ‪ -‬ﺃﻱ ﺍﳌﻜﺎﻥ‪ -‬ﻫﻮ ﻣﺆﺳﺲ ﺍﳊﻜﻲ ﻛﻤﺎ ﺍﻋﺘﱪﻩ ﻫﻨﺮﻱ ﻣﺘﺮﺍﻥ‪.‬‬
‫ﻭﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺍﺧﺘﻼﻑ ﺍﻟﻨﻘﺎﺩ ﺣﻮﻝ ﺍﻟﺘ‪‬ﺴﻤﻴﺔ ﺍﻟﺪﻗﻴﻘﺔ ﳌﻔﻬﻮﻡ ﺍﳌﻜﺎﻥ‪ ،‬ﺇﻻ ﺃﻧ‪‬ﻨﺎ ﲰﺤﻨﺎ ﻷﻧﻔﺴﻨﺎ‬
‫ﺑﺘﺒﲏ ﻣﺼﻄﻠﺢ "ﺍﻟﻔﻀﺎﺀ" ﻷﻥ ﻣﻌﻨﺎﻩ ﺟﺎﺭﻱ ﰲ ﻛﻞ ﻓﺮﺍﻍ ﻭﻣﻜﺎﻥ ﻛﻤﺎ ﺃﻥ ﺍﻷﻧﻮﺍﻉ ﺍﻟﱵ ﻗﺪ‪‬ﻣﻬﺎ ﲪﻴﺪ‬
‫ﳊﻤﻴﺪﺍﱐ ﻷﻧﻮﺍﻉ ﺍﻟﻔﻀﺎﺀ ﺃﻛﹼﺪﺕ ﺍﺳﺘﺨﺪﺍﻣﻨﺎ ﻟﻠﻤﺼﻄﻠﺢ ﺫﺍﺗﻪ‪.‬‬
‫ﻭﳝﻜﻦ ﺃﻥ ﻧﻠﺨﺺ ﺃﻧﻮﺍﻉ ﺍﻟﻔﻀﺎﺀ ﻓﻴﻤﺎ ﻳﻠﻲ‪:‬‬
‫ﺃ‪-‬ﺍﻟﻔﻀﺎﺀ ﺍﳉﻐﺮﺍﰲ ‪L’espace géologique :‬‬
‫ﻣﻦ ﺍﳌﻔﻴﺪ ﺟﺪﺍ ﺃﻥ ﻧﺸﲑ ﺇﱃ ﺃﻧﻪ ﻻ ﺗﻮﺟﺪ ﺃﻱ ﻋﻼﻗﺔ ﺑﲔ ﺍﳌﻜﺎﻥ ﺍﻟﻮﺍﻗﻌﻲ ﻭﺍﳌﻜﺎﻥ ﺩﺍﺧﻞ‬
‫ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻓﺎﻟﺮﺍﻭﻱ ﺣﻴﻨﻤﺎ ﳜﺘﺎﺭ ﻓﻀﺎﺀﺍﺗﻪ ﻣﻦ ﺍﻷﻣﺎﻛﻦ ﺍﳉﻐﺮﺍﻓﻴﺔ ﺍﻟﱵ ﳒﺪ ﳍﺎ ﻣﺮﺟﻌﻴﺔ ﻭﺍﻗﻌﻴﺔ ﻳﺴﺘﻌﻤﻞ‬
‫ﺃﲰﺎﺀﻫﺎ ﻭﺻﻔﺎ‪‬ﺎ ﻟﻜﻲ ﻧﻌﺮﻑ ﺃﻧﻪ ﺍﺧﺘﺎﺭﻫﺎ ﺩﻭﻥ ﺳﻮﺍﻫﺎ ﻣﻦ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻷﺧﺮﻯ‪.‬‬

‫)‪ (5‬ﻏﺎﺳﺘﻮﻥ ﺑﺎﺷﻼﺭ ‪ :‬ﲨﺎﻟﻴﺎﺕ ﺍﳌﻜﺎﻥ‪ ،‬ﺗﺮﲨﺔ‪ :‬ﻏﺎﻟﺐ ﻫﺴﺘﺎ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﳉﺎﻣﻌﻴﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪1989 ،3‬ﻡ‪ ،‬ﺹ ‪.21‬‬
‫‪- 145 -‬‬
‫ﻭﻫﻮ ‪‬ﺬﺍ ﻳﻨﺴﺞ ﻟﻨﺎ ﺑﻮﺍﺳﻄﺔ ﺧﻴﺎﻟﻪ ﻓﻀﺎﺀ ﺟﻐﺮﺍﻓﻴﺎ ﻣﻦ ﺧﻼﻝ ﺍﻷﻣﻜﻨﺔ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﺍﳊﻜﺎﻳﺔ‬
‫ﺃﻭ ﺍﻟﺮﻭﺍﻳﺔ"ﺇﺫ ﻳﻘﺪ‪‬ﻡ ﻟﻨﺎ ﺣﺪ‪‬ﺍ ﺃﺩﱏ ﻣﻦ ﺍﻹﺷﺎﺭﺍﺕ ﺍﳉﻐﺮﺍﻓﻴﺔ ﺍﻟﱵ ﺗﻜﻮﻥ ﻓﻴﻪ ﳎﺮﺩ ﻧﻘﻄﺔ ﺍﻧﻄﻼﻕ ﻣﻦ‬
‫)‪( 1‬‬
‫ﺃﺟﻞ ﲢﺮﻳﻚ ﺧﻴﺎﻝ ﺍﻟﻘﺎﺭﺉ ﺃﻭ ﻣﻦ ﺃﺟﻞ ﺍﺳﺘﻜﺸﺎﻓﺎﺕ ﻣﻨﻬﺠﻴﺔ ﻟﻸﻣﺎﻛﻦ"‬
‫ﻛﻤﺎ ﺗﺬﻫﺐ ﺟﻮﻟﻴﺎ ﻛﺮﻳﺴﻴﻔﺎ ﺇﱃ ﺃﻥﹼ ﺍﻟﻔﻀﺎﺀ ﺍﳉﻐﺮﺍﰲ ﻻ ﳝﻜﻦ ﺩﺭﺍﺳﺘﻪ ﻣﺴﺘﻘﻼ ﻭﻫﻲ ﻻ ﲡﻌﻠﻪ‬
‫ﻣﻨﻔﺼﻼ ﻋﻦ ﺩﻻﻟﺘﻪ ﺍﳊﻀﺎﺭﻳﺔ‪ ،‬ﻓﻬﻮ ﺇﺫﻥ ﻳﺘﺸﻜﻞ ﻣﻦ ﺧﻼﻝ ﺍﻟﻌﺎﱂ ﺍﻟﻘﺼﺼﻲ ﻭﳛﻤﻞ ﻣﻌﲎ ﲨﻴﻊ‬
‫ﺍﻟﺪﻻﻻﺕ ﺍﳌﻼﺯﻣﺔ ﻟﻪ")‪.(2‬‬
‫ﻟﺬﻟﻚ ﻻ ﻳ‪‬ﻨﻈﺮ ﻟﻠﻤﻜﺎﻥ ﺍﳉﻐﺮﺍﰲ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻣﻜﺎﻧﺎ ﺛﺎﺑﺘﺎ ﻭﳔﻀﻌﻪ ﻟﻠﻮﺻﻒ ﺍﻟﻈﺎﻫﺮﻱ ﻓﻘﻂ‪ ،‬ﺑﻞ ﻳ‪‬ﻨﻈﺮ‬
‫ﺇﻟﻴﻪ ﺑﻌﻤﻖ ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺍﳌﺰﺍﻳﺎ ﺍﻟﱵ ﺗﻜﺘﺸﻒ ﺍﻻﺭﺗﺒﺎﻁ ﺑﺎﳌﻜﺎﻥ‪.‬‬
‫ﺏ‪ -‬ﺍﻟﻔﻀﺎﺀ ﺍﻟﻨﺼﻲ‪L’espace textuel :‬‬
‫ﻫﻮ ﺫﻟﻚ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺬﻱ ﳛﺘﻠﻪ ﺍﻟﻨﺺ ﰲ ﺍﻟﺼﻔﺤﺔ ﺍﻷﻭﱃ‪ ،‬ﻭﻫﻮ" ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﺗﺸﺘﻐﻞ ‪‬ﺎ‬
‫ﺍﻟﻜﺘﺎﺑﺔ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﺃﺣﺮﻓﺎ ﻃﺒﺎﻋﻴﺔ ﳌﺴﺎﺣﺔ ﺍﻟﻮﺭﻕ‪ ،‬ﻭﻳﺪﺧﻞ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﺗﺸﻜﻴﻞ ﺍﻟﻐﻼﻑ ﻭﻭﺿﻊ‬
‫) ‪(1‬‬
‫ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻻﻓﺘﺘﺎﺣﻴﺔ ﻭﺍﻟﻔﻀﻮﻝ"‬
‫ﻭﻳﺪﺧﻞ ﺿﻤﻦ ﺍﳌﻜﺎﻥ ﺍﻟﻄﺒﺎﻋﻲ ﻛﻞ ﻣﺎ ﻟﻪ ﻋﻼﻗﺔ ﺑﺎﻟﻨﺺ ﻭﻃﺮﻳﻘﺔ ﻋﺮﺿﻪ ﻋﻠﻰ ﺍﻟﺼﻔﺤﺔ ﺍﻟﱵ‬
‫ﻳﺴﺘﻌﻤﻠﻬﺎ ﺍﻟﻜﺎﺗﺐ ﰲ ﺗﻨﻈﻴﻢ ﺻﻔﺤﺘﻪ ﻣﻦ ﻓﺮﺍﻏﺎﺕ ﻭﺃﻟﻮﺍﻥ ﻭﻏﻼﻑ ﻭ ﻣﺎ ﻳﺼﺒﻐﻪ ﻣﻦ ﺭﺳﻮﻡ ﻭﺃﻟﻮﺍﻥ‬
‫"ﻭﻗﺪ ﺍﻫﺘﻤﺖ ﺑﻪ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﳊﺪﻳﺜﺔ ﻭﻛﺜﲑ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ ﻭﻣﻨﻬﻢ ﺍﻟﺒﺎﺣﺚ ‪ M/Buttor‬ﺍﻫﺘﻤﺎﻡ‬
‫ﻛﺒﲑﺍ ﺭﻏﻢ ﺃﻧﻪ ﻟﻴﺲ ﻟﻪ ﺍﺭﺗﺒﺎﻁ ﻛﺒﲑ ﲟﻀﻤﻮﻥ ﺍﳊﻜﻲ‪ ،‬ﻭﻟﻜﻨﻪ ﻳﻌﺪ ﺍﻟﻔﻀﺎﺀ ﻣﻜﺎﻧﻴﺎ ﺃﻳﻀﺎ‪،‬ﻷﻧﻪ ﻻ‬
‫ﻳﺘﺸﻜﻞ ﺇﻻ ﻋﱪ ﺍﳌﺴﺎﺣﺔ‪ ،‬ﻣﺴﺎﺣﺔ ﺍﻟﻜﺘﺎﺏ ﻭﺃﺑﻌﺎﺩﻩ‪ ،‬ﻏﲑ ﺃﻧﻪ ﳏﺪﻭﺩ ﻭﻻ ﻋﻼﻗﺔ ﻟﻪ ﺑﺎﳌﻜﺎﻥ ﺍﻟﺬﻱ‬
‫ﻳﺘﺤﺮﻙ ﻓﻴﻪ ﺍﻷﺑﻄﺎﻝ‪ ،‬ﺇﺫﻥ ﻫﻮ ﻓﻀﺎﺀ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﺮﻭﺍﺋﻴﺔ")‪.(2‬‬
‫ﺝ‪-‬ﺍﻟﻔﻀﺎﺀ ﺍﻟﺪﻻﱄ ‪L’espace sémantique :‬‬
‫ﻫﻮ ﻧﻮﻉ ﺁﺧﺮ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻔﻀﺎﺀ‪ ،‬ﻟﻪ ﻋﻼﻗﺔ ﺑﺎﻟﺼﻮﺭ ﺍ‪‬ﺎﺯﻳﺔ ﻭﻣﺎﳍﺎ ﻣﻦ ﺃﺑﻌﺎﺩ ﺩﻻﻟﻴﺔ‪،‬‬
‫ﻓﺎﻟﺮﺍﻭﻱ ﺑﻔﻀﻞ ﺧﻴﺎﻟﻪ ﺍﻟﻐﺰﻳﺮ ﳜﻠﻖ ﺃﻣﺎﻛﻦ ﻭﻓﻀﺎﺀﺍﺕ ﳐﺘﻠﻔﺔ ﺗﻜﻮﻥ ﻣﻨﻄﻠﻖ ﺃﺣﺪﺍﺛﻪ ﺗﺘﻨﺎﺳﺐ ﻣﻊ‬
‫ﺍﺧﺘﻼﻑ ﺃﻓﻌﺎﻝ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺣﺮﻛﺎ‪‬ﻢ‪.‬‬

‫)‪ (1‬ﺑﺸﲑ ﻋﺒﺪ ﺍﻟﻌﺎﱄ‪ :‬ﺩﻻﻟﺔ ﺍﻟﻔﻀﺎﺀ ﰲ ﺭﻭﺍﻳﺔ ﺫﺍﻛﺮﺓ ﺍﳉﺴﺪ ﻷﺣﻼﻡ ﻣﺴﺘﻐﺎﳕﻲ‪ ،‬ﻛﺘﺎﺏ ﺍﳌﻠﺘﻘﻰ ﺍﳋﺎﻣﺲ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻦ ﻫﺪﻭﻗﺔ‪ ،‬ﺹ ‪.80‬‬
‫)‪ (2‬ﲪﻴﺪ ﳊﻤﻴﺪﺍﱐ ‪ :‬ﺑﻨﻴﺔ ﺍﻟﻨﺺ ﺍﻟﺴﺮﺩﻱ‪ ،‬ﺹ‪.84‬‬
‫ﲪﻴﺪ ﳊﻤﻴﺪﺍﱐ‪ :‬ﺑﻨﻴﺔ ﺍﻟﻨﺺ ﺍﻟﺴﺮﺩﻱ‪ ،‬ﺹ ‪.55‬‬
‫) ‪(1‬‬

‫)‪ (2‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.56‬‬

‫‪- 146 -‬‬
‫" ﻓﻬﻮ ﺇﺫﻥ ﻳﺘﺄﺳﺲ ﺑﲔ ﺍﳌﺪﻟﻮﻝ ﺍ‪‬ﺎﺯﻱ ﻭﺍﳌﺪﻟﻮﻝ ﺍﳊﻘﻴﻘﻲ ﻭﻳﻌﺘﱪ ﺟﺮﺍﺭ ﺟﻴﻨﻴﺖ ﺃﻥ ﻫﺬﺍ‬
‫ﺍﻟﻔﻀﺎﺀ ﻟﻴﺲ ﺇﻻ ﺻﻮﺭﺓ ‪ Figure‬ﻫﻲ ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺍﻟﺸﻜﻞ ﺍﻟﺬﻱ ﻳﺘﺨﺬﻩ ﺍﻟﻔﻀﺎﺀ‪ ،‬ﻭﻫﻲ‬
‫) ‪(1‬‬
‫ﺍﻟﺸﻲﺀ ﺍﻟﺬﻱ ‪‬ﺐ ﺍﻟﻠﻐﺔ ﻧﻔﺴﻬﺎ ﻟﻪ‪ ،‬ﺑﻞ ﺇ‪‬ﺎ ﺭﻣﺰ ﻓﻀﺎﺋﻴﺔ ﺍﻟﻠﻐﺔ ﺍﻷﺩﺑﻴﺔ ﰲ ﻋﻼﻗﺘﻬﺎ ﻣﻊ ﻫﺬﺍ ﺍﳌﻌﲎ"‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﳌﻜﺎﻥ ﺍﳌﺘﺨﻴﻞ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﻗﺪ ﻳﺮﺩ ﺑﺸﻜﻠﻪ ﺍﻟﺒﺴﻴﻂ ﺃﻱ ﻛﺘﺠﺮﺑﺔ‬
‫ﻋﺎﺷﻬﺎ ﺍﻟﻜﺎﺗﺐ ﺫﺍﺗﻴﺔ ﺃﻭ ﻛﻤﻮﺿﻮﻉ ﻟﻪ ﻣﺮﺟﻌﻴﺘﻪ ﰲ ﺍﻟﻮﺍﻗﻊ ‪ ،‬ﻓﻘﺎﻡ ﺑﺈﻋﺎﺩﺓ ﺻﻴﺎﻏﺘﻪ ﺑﻮﺍﺳﻄﺔ ﺧﻴﺎﻟﻪ‬
‫ﺍﳋﺼﺐ ﺩﺍﺧﻞ ﺍﻟﻌﻤﻞ ﺍﻟﺮﻭﺍﺋﻲ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥ ﺍﻟﻔﻀﺎﺀ ﻣﻬﻤﺎ ﺗﻌﺪﺩﺕ ﺃﻧﻮﺍﻋﻪ‪ ،‬ﻳﺒﻘﻰ ﻫﻮ ﺍﻟﻨﻘﻄﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﶈﺪﺩﺓ ﻷﺑﻌﺎﺩ‬
‫ﺃﻱ ﻋﻤﻞ ﺃﺩﰊ‪ ،‬ﻷﻥ ﻭﺟﻮﺩ ﺍﻹﻧﺴﺎﻥ ﻻ ﻳﺘﺤﻘﻖ ﺇﻻ ﻣﻦ ﺧﻼﻝ ﻋﻼﻗﺘﻪ ﺑﺎﳌﻜﺎﻥ ﺇﺫ"ﻻ ﳚﺪ ﺍﻹﻧﺴﺎﻥ‬
‫ﻧﻔﺴﻪ ﰲ ﺭﻗﻌﺔ ﺟﻐﺮﺍﻓﻴﺔ ﺑﻞ ﻳﺒﺤﺚ ﻋﻦ ﺭﻗﻌﺔ ﻣﻦ ﺍﻷﺭﺽ ﻳﻀﺮﺏ ﻓﻴﻬﺎ ﲜﺬﻭﺭﻩ ﻭﺗﺘﺄﺻﻞ ﻓﻴﻬﺎ ﻫﻮﻳﺘﻪ‬
‫) ‪(2‬‬
‫ﻭﻣﻦ ﻫﻨﺎ ﺍﺭﺗﺒﻂ ﺍﻟﺒﺤﺚ ﻋﻦ ﺍﳍﻮﻳﺔ ﺑﺎﻟﺒﺤﺚ ﻋﻦ ﺍﳌﻜﺎﻥ"‪.‬‬
‫‪ -3‬ﻓﻀﺎﺀﺍﺕ ﺍﳊﻜﺎﻳﺔ‪:‬‬
‫ﻳﻠﻌﺐ ﺭﺍﻭﻱ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺩﻭﺭﺍ ﻣﻬﻤﺎ ﰲ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﳌﺘﻨﻮ‪‬ﻋﺔ ﺍﻟﱵ ﻳﺼﺐ ﻓﻴﻬﺎ‬
‫ﺷﺨﻮﺻﻪ ﻭﺃﺣﺪﺍﺙ ﺣﻜﺎﻳﺘﻪ‪ ،‬ﻓﺄﺣﻴﺎﻧﺎ ﺗﻜﻮﻥ ﻣﺴﺘﻌﺎﺭﺓ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﻭﺃﺣﻴﺎﻧﺎ ﺃﺧﺮﻯ ﺗﺴﺘﻌﺎﺭ ﻣﻦ ﻭﺍﻗﻊ‬
‫ﺧﻴﺎﱄ‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺈﻥ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺨﺘﺎﺭﺓ ﱂ ﺗﻮﱄ ﺍﻫﺘﻤﺎﻣﺎ ﻛﺒﲑﺍ ﺑﺎﳊﻴﺰ ﺍﳌﻜﺎﱐ‪ ،‬ﺣﻴﺚ‬
‫ﻭﺭﺩﺕ ﺍﻷﻣﺎﻛﻦ ﻓﻴﻬﺎ ﻣﻄﻠﻘﺔ ﺩﻭﻥ ﲢﺪﻳﺪ ﺃﻭ ﲣﺼﻴﺺ"ﻓﺎﻟﻮﻇﻴﻔﺔ ﺍﳊﺴﻴﺔ ﻟﻠﻤﻜﺎﻥ ﺳﻄﺤﻴﺔ ﺗﺘﻤﺜﻞ ﰲ‬
‫ﻣﻜﺎﻥ ﺗﻮﺍﺟﺪ ﺍﻷﺷﺨﺎﺹ ﻓﻘﻂ‪ ،‬ﻭﻟﻜﻦ ﺑﻌﺪ ﲢﻠﻴﻞ ﻣﺪﻗﻖ ﻟﻠﻘﺼﺔ ﻭﺟﺪﻧﺎ ﺃﻧﻪ ﻳﺆﺩﻱ ﻭﻇﻴﻔﺔ ﺭﻣﺰﻳﺔ‬
‫ﺗﺸﻴﻊ ﻓﻀﻮﻝ ﺍﻟﺪﺍﺭﺱ")‪ (2‬ﻭﻣﻦ ﺧﻼﻝ ﻣﻼﺣﻈﺘﻨﺎ ﻷﻏﻠﺐ ﺍﻷﻣﺎﻛﻦ ﺍﶈﺪﻭﺩﺓ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﺍﳊﻜﺎﻳﺎﺕ‬
‫ﺍﳌﺨﺘﺎﺭﺓ‪،‬ﺃﻣﻜﻨﻨﺎ ﺗﻘﺴﻴﻤﻬﺎ ﲝﺴﺐ ﻓﻀﺎﺋﻴﺘﻬﺎ ﺍﶈﺪﻭﺩﺓ‪ ،‬ﺍﻟﱵ ﺗﻈﻞ ﺍﻷﺣﺪﺍﺙ ﻭﺍﻟﺸﺨﺼﻴﺎﺕ ﺣﺒﻴﺴﺔ‬
‫ﺇﻃﺎﺭﻫﺎ‪ ،‬ﻭﺍﳌﻨﻔﺘﺤﺔ ﺍﻟﱵ ﺗﺴﻤﺢ ﻟﻸﺷﺨﺎﺹ ﺑﺎﻟﺘﺤﺮﻙ ﻭﻓﻖ ﺍﻷﺣﺪﺍﺙ ﺍﻟﱵ ﲡﺮﻱ‪ ،‬ﻭﳍﺬﺍ ﻻﺣﻈﻨﺎ‬
‫ﻧﻮﻋﲔ ﻣﻦ ﺍﻷﻣﻜﻨﺔ ﻣﻨﻬﺎ ﻣﺎ ﻫﻮ ﻣﻔﺘﻮﺡ ﻭﻣﻨﻬﺎ ﻣﺎ ﻫﻮ ﻣﻐﻠﻖ‪.‬‬

‫)‪ (1‬ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ ‪.61‬‬

‫)‪ (2‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻓﻦ ﺍﻟﻘﺺ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪ ،‬ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ‪ ،‬ﺩﺍﺭ ﻗﺒﺎﺀ ﻟﻠﻄﺒﺎﻋﺔ‪.‬‬
‫)‪ (2‬ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺹ‪116‬‬
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 ‫ﺃ‪-‬ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﳌﻔﺘﻮﺣﺔ‪:‬‬
‫ﻟﻘﺪ ﺭﻛﺰﺕ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻋﻠﻰ ﺃﻫﻢ ﻣﻜﺎﻥ ﻣﻔﺘﻮﺡ‪ ،‬ﻟﺘﻜﻮﻥ ﻣﻨﻪ ﺍﻧﻄﻼﻗﺔ‬
‫ﺍﻷﺣﺪﺍﺙ‪ ،‬ﺇﻧﻪ "ﺍﻟﺒﺤﺮ" ﺍﻟﺬﻱ ﻳﺸﻜﻞ ﻣﺪﻯ ﻣﻔﺘﻮﺣﺎ ﻋﻠﻰ ﺍﻟﻌﺎﱂ ﺑﺪﻻﻻﺗﻪ ﺍﳌﺨﺘﻠﻔﺔ‪.‬‬
‫ﻓﻘﺪ ﲨﻊ ﺍﻟﺒﺤﺮ ﻛﻔﻀﺎﺀ ﻣﻔﺘﻮﺡ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺨﺘﺎﺭﺓ ﺑﲔ ﺛﻨﺎﺋﻴﺘﲔ ﻣﺘﻨﺎﻗﻀﺘﲔ ﳘﺎ‬
‫)ﺍﳌﻮﺕ ‪ ،‬ﺍﳊﻴﺎﺓ(‪.‬‬
‫ﺃﻣﺎ ﺍﳌﻮﺕ ﻓﺪﻝﹼ ﻋﻠﻴﻬﺎ ﻋﻨﺪﻣﺎ ﺍﲣﺬﺗﻪ ﺳﺘﻮﺕ ﻛﻮﺳﻴﻠﺔ ﻟﻮﺿﻊ ﺣﺪ ﳊﻴﺎﺓ ﺍﻟﺒﻄﻠﲔ "ﺑﻴﻨﻤﺎ‬
‫ﺳﺘﻮﺕ ﺃﺧﺬﺕ ﺍﻟﻔﻠﻴﺰﺓ ﺑﺎﻟﺮﺿﻴﻌﲔ ﻭﺭﻣﺘﻬﺎ ﰲ ﺍﻟﺒﺤﺮ" ﻭﺃﻣﺎ ﺩﻻﻟﺔ ﺍﳊﻴﺎﺓ ﻟﻠﺒﺤﺮ ﻓﻨﺠﺪﻫﺎ ﻋﻨﺪﻣﺎ ﻣﺜﹼﻞ‬
‫ﺑﺎﺏ ﻋﻴﺶ ﻭﺭﺯﻕ ﻭﺧﲑ ﻟﻠﺼﻴﺎﺩ ﺍﻟﻌﺠﻮﺯ "ﻭﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﺟﺎﺀ ﺻﻴﺎﺩ ﻋﺠﻮﺯ ﻟﻴﺼﻄﺎﺩ‪ ،‬ﻟﻜﻨﻪ ﰲ‬
‫ﺫﻟﻚ ﺍﻟﻴﻮﻡ ﱂ ﳛﺎﻟﻔﻪ ﺍﳊﻆ ﻓﻠﻢ ﻳﺼﻄﺎﺩ ﻭﻻ ﲰﻜﺔ ﺣﱴ ﻳﺌﺲ ﻭﺃﻗﺮ ﰲ ﺫﺍﺗﻪ ﺑﺄﻥ ﺗﻜﻮﻥ ﻫﺬﻩ ﺍﶈﺎﻭﻟﺔ‬
‫ﺍﻷﺧﲑﺓ‪ ،‬ﻓﺮﻣﻰ ﺷﺒﻜﺘﻪ ‪."....‬‬
‫ﻓﻠﻠﺒﺤﺮ ﺇﺫﻥ ﺩﻻﻻﺕ ﻣﺘﻀﺎﺭﺑﺔ ﻧﺎﺑﻌﺔ ﻣﻦ ﻃﺒﻴﻌﺘﻪ ﺇﺫ ﳝﺜﹼﻞ"ﻟﻮﺣﺔ ﻳﺸﻜﻠﻬﺎ ﺍﻟﻨﻮﺭ ﻭﺍﻟﻈﻼﻡ‪،‬‬
‫ﻭﻟﻴﺲ ﺍﳌﻴﺎﻩ ﻭﺍﻟﺰﺭﻗﺔ ﻭﺍﻷﻣﻮﺍﺝ‪ ،‬ﺇﻧﻪ ﻓﻠﺴﻔﺔ ﻛﺎﻣﻠﺔ ﺗﺒﺪﺃ ﺑﺎﳋﻮﻑ ﰒ ﺍﻟﺘﺄﻣﻞ ﻭﺃﺧﲑﺍ ﺑﺎﻟﺘﻮﺍﺻﻞ" )‪.(1‬‬
‫ﻛﻤﺎ ﺗﻈﻬﺮ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺨﺘﺎﺭﺓ ﻓﻀﺎﺀﺍﺕ ﻣﻔﺘﻮﺣﺔ ﺃﺧﺮﻯ ﻛﺎﻷﺭﺽ ﻭﺍﻟﺴﻤﺎﺀ ﰲ‬
‫ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺣﻴﺚ ﻣﺜﹼﻠﺘﺎ ﺍﳌﻠﺠﺄ ﺍﻟﺬﻱ ﻳﻬﺮﺏ ﺇﻟﻴﻪ ﺍﻟﺒﻄﻼﻥ ﻣﻦ ﳘﻮﻡ ﺍﳊﻴﺎﺓ ﻭﺧﻄﻮ‪‬ﺎ‬
‫"ﰒ ﲢﻮﻝ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺇﱃ ﻃﺎﺋﺮ ﰲ ﺍﻟﺴﻤﺎﺀ" ﻭﰲ ﻣﻮﺿﻊ ﺁﺧﺮ "ﻭﺭﺍﺣﺎ ﳝﺸﻴﺎﻥ ﰲ ﺍﻷﺭﺽ‪ ،‬ﺩﻭﻥ ﺃﻥ‬
‫ﻳﻌﺮﻓﺎ ﺍﲡﺎﻫﻬﻤﺎ"‪.‬‬
‫ﻛﻤﺎ ﻣﺜﹼﻞ ﺍﻟﻮﺍﺩ ﰲ ﻧﻔﺲ ﺍﳊﻜﺎﻳﺔ ﻓﻀﺎﺀﺍ ﻣﻔﺘﻮﺣﺎ ﳛﻤﻞ ﺩﻻﻟﺔ ﺍﳊﻴﺎﺓ ﻭﺍﺳﺘﻤﺮﺍﺭﻳﺘﻬﺎ ﻭﰲ ﻧﻔﺲ‬
‫ﺍﻟﻮﻗﺖ ﺃﻋﻄﻰ ﺩﻻﻟﺔ ﲨﺎﻟﻴﺔ ﺗﺒﻌﺚ ﻋﻠﻰ ﺍﻟﺮﺍﺣﺔ ﻭﺍﻟﺘﻔﺎﺅﻝ "ﻭﺑﻴﻨﻤﺎ ﳘﺎ ﻳﺘﺠﻮﻻﻥ ﻣﺮﺍ ﺑﻮﺍﺩ ﻟﻴﺴﻘﻴﺎ‬
‫ﺍﳊﺼﺎﻧﲔ‪ ،‬ﻓﺎﺳﺘﻌﺼﻰ ﻋﻠﻰ ﺣﺼﺎﻥ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﺍﻟﺸﺮﺏ"‪.‬‬
‫ﻭﻻ ﳝﻜﻦ ﺃﻥ ﻧﻐﻔﻞ ﻋﻦ ﻓﻀﺎﺀ ﺍﻟﺴﻮﻕ ﺣﻴﺚ ﻣﺜﹼﻠﺖ ﰲ ﻧﻔﺲ ﺍﳊﻜﺎﻳﺔ ﻣﻜﺎﻧﺎ ﻣﻔﺘﻮﺣﺎ ﺗﻠﺘﻘﻲ‬
‫ﻓﻴﻪ ﺍﻟﺸﺨﻮﺹ ﺍﻟﻜﺒﲑﺓ ﻭﺍﻟﺼﻐﲑﺓ "ﻓﻄﻠﺐ ﺍﻟﻮﻟﺪ ﺃﻥ ﻳﺬﻫﺐ ﻣﻊ ﺃﺑﻴﻪ ﺍﻟﺼﻴﺎﺩ ﺇﱃ ﺍﻟﺴﻮﻕ‪ ،‬ﺑﻌﺪ ﺃﻥ‬
‫ﻳﺘﺤﻮﻝ ﺇﱃ ﻫﻴﺌﺔ ﺛﻮﺭ ﲰﲔ ﻻ ﻣﺜﻴﻞ ﻟﻪ ﻟﺒﻴﻌﻪ ﺑﺄﻏﻠﻰ ﺳﻌﺮ"‪.‬‬

‫ﺻﺎﱀ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﻟﻔﻀﺎﺀ ﻭﻟﻐﺔ ﺍﻟﺴﺮﺩ ﰲ ﺭﻭﺍﻳﺎﺕ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻣﻨﻴﻒ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ‪،‬ﺑﲑﻭﺕ ﻟﺒﻨﺎﻥ ﻁ‪ ،1‬ﺹ ‪.20‬‬ ‫) ‪(1‬‬

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‫ﻏﲑ ﺃﻥ ﻣﺎ ﻳﻼﺣﻆ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻔﻀﺎﺀ ﺃﻥ ﺍﻟﺮﺍﻭﻱ ﺃﻋﻄﺎﻩ ﻭﺻﻔﺎ ﻋﺎﻣﻴﺎ ﻣﻄﻠﻘﺎ ﺩﻭﻥ ﺃﻥ ﻳﺘﻮﻗﻒ‬
‫ﻋﻨﺪ ﺟﺰﺋﻴﺎﺗﻪ ﻣﻦ ﻃﺒﻴﻌﺔ ﻫﺬﻩ ﺍﻟﺴﻮﻕ‪ ،‬ﺃﺟﻨﺤﺘﻬﺎ ‪ ،‬ﺑﻀﺎﻋﺘﻬﺎ ﻭﻏﲑﻫﺎ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﻐﺎﺑﺔ ﻓﻬﻲ ﺍﻷﺧﺮﻯ ﻓﻀﺎﺀ ﻣﻔﺘﻮﺡ ﰲ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻓﻘﺪ ﻣﺜﹼﻠﺖ ﻣﺼﺪﺭ‬
‫ﺧﻄﺮ ﻋﻠﻰ ﺍﻟﺒﻄﻞ‪ ،‬ﻟﻮﺟﻮﺩ ﺍﻷﺳﺪ ﻭﺍﻟﻠﺒﺆﺓ ‪‬ﺎ ﰒ ﺑﺪﺃ ﻫﺬﺍ ﺍﳋﻄﺮ ﻳﺘﻼﺷﻰ ﻋﻨﺪﻣﺎ ﺍﺳﺘﻄﺎﻉ ﺍﻟﺒﻄﻞ ﺃﻥ‬
‫ﳛﻘﹼﻖ ﻣﺮﺍﺩﻩ ﻭﻣﺒﺘﻐﺎﻩ ﻭﻓﻖ ﺧﻄﺔ ﻣﺎ "ﻓﺎﻧﻄﻠﻖ ﺃﺧﻮﻫﺎ ﺑﺎﺣﺜﺎ ﻋﻦ ﻫﺬﺍ ﺍﳊﻠﻴﺐ‪ ،‬ﻭﺫﻫﺐ ﺇﱃ ﺍﻟﻐﺎﺑﺔ‬
‫ﻭﺑﺎﻟﻘﺮﺏ ﻣﻦ ﻣﻜﺎﻥ ﺍﻷﺳﺪ ﺫﺑﺢ ﺍﻟﺸﺎﺓ" ‪.‬‬
‫ﻏﲑ ﺃﻥ ﺭﺍﻭﻱ ﺍﳊﻜﺎﻳﺔ ﱂ ﻳﺪﻗﻖ ﰲ ﻭﺻﻒ ﺍﻟﻐﺎﺑﺔ ﺑﻞ ﺍﻛﺘﻔﻰ ﺑﺎﻹﺷﺎﺭﺓ ﺇﻟﻴﻬﺎ ﻓﻘﻂ ﺩﻭﻥ‬
‫ﺗﻔﺼﻴﻞ‪.‬‬
‫ﺃﻣﺎ ﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ ﻓﺘﻤﻴﺰﺕ ﺑﻮﺟﻮﺩ ﻓﻀﺎﺋﲔ ﺍﺛﻨﲔ ﻓﻘﻂ‪ ،‬ﻭﺍﺣﺪ ﻣﻔﺘﻮﺡ ﻭﺍﻵﺧﺮ ﻣﻐﻠﻖ‪.‬‬
‫ﺃﻣﺎ ﺍﳌﻔﺘﻮﺡ ﻓﻴﺠﺴﺪﻩ ﺧﺎﺭﺝ ﺍﻟﺒﺌﺮ ﻭﻣﺎ ﳛﻤﻠﻪ ﻣﻦ ﺩﻻﻻﺕ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﺍﻟﺴﻌﺎﺩﺓ ﻭﺍﳊﺮﻳﺔ‪.‬‬
‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻥ ﺭﺍﻭﻱ ﺍﳊﻜﺎﻳﺔ ﱂ ﻳﺸﺮ ﺇﻻ ﻫﺬﺍ ﺍﻟﻔﻀﺎﺀ‪ ،‬ﻭﺇﳕﺎ ﰎ ﺍﺳﺘﻨﺘﺎﺟﻪ‬
‫ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻣﻌﻄﻴﺎﺕ ﺍﻟﻔﻀﺎﺀ ﺍﳌﻐﻠﻖ ﰲ ﺍﳊﻜﺎﻳﺔ ﻧﻔﺴﻬﺎ‪.‬‬
‫ﻭﺑﺎﻻﻧﺘﻘﺎﻝ ﺇﱃ ﺣﻜﺎﻳﺔ "ﻭﺩﻋﺔ ﺟﻨﺎﻳﺔ ﺳﺒﻌﺔ" ﺗﻈﻬﺮ ﻣﻼﻣﺢ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﳌﻔﺘﻮﺣﺔ ﻣﻦ ﺧﻼﻝ‬
‫ﺻﻮﺭﺓ ﺍﻟﻨﻬﺮ ﺍﻟﺬﻱ ﻣﺜﻞ ﻓﻀﺎﺀ ﻟﻠﻤﺘﻌﺔ ﻭﺍﻟﺮﺍﺣﺔ‪ ،‬ﺑﻞ ﻭﺍﻟﺴﻌﺎﺩﺓ ﺃﻳﻀﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺒﻄﻠﺔ "ﻭﺫﺍﺕ ﻳﻮﻡ‬
‫ﻛﺎﻧﺖ ﻗﺮﺏ ﺍﻟﻨﻬﺮ ﺗﻠﻌﺐ ﺑﺎﳌﺎﺀ ﻭﺗﻘﺬﻓﻪ ﺑﺮﺟﻠﻴﻬﺎ "‪.‬‬
‫ﻛﻤﺎ ﻣﺜﹼﻞ ﻣﻜﺎﻥ ﺍﻟﺮﻋﻲ‪ ،‬ﻓﻀﺎﺀ ﻣﻔﺘﻮﺣﺎ ﳛﻤﻞ ﺩﻻﻟﺔ ﺍﳊﺰﻥ ﻭ ﺍﻟﻨﺠﺎﺓ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺃﻣﺎ‬
‫ﺍﳊﺰﻥ ﻓﻨﺎﺗﺞ ﻋﻦ ﺍﻟﻈﻠﻢ ﺍﻟﺬﻱ ﺗﻌﺮﺿﺖ ﻟﻪ ﺍﻟﺒﻄﻠﺔ ﻭﺍﻟﺬﻱ ﺃﻭﺩﻯ ‪‬ﺎ ﺇﱃ ﺃﻥ ﺗﻜﻮﻥ ﺧﺎﺩﻣﺔ ﰲ ﺑﻴﺘﻬﺎ‬
‫"ﻻﻩ ﻣﺎﻛﻴﺶ ﺗﺪﻱ ﻓﺎﻟﺒﻌﺮﺍﻥ ﺗﺴﺮﺡ‪ ،‬ﻭﻻ ﻣﺎﻛﻴﺶ ﺗﺪﻱ ﻓﻴﻬﻢ ﻟﻠﺒﻼﺻﺔ ﱄ ﻓﻴﻬﺎ ﺍﳌﺎﻛﻠﺔ‪ ،‬ﻓﺄﺟﺎﺑﺘﻬﺎ‬
‫ﺑﻘﻮﳍﺎ‪:‬ﺃﻧﺎ ﺭﺍﱐ ﻧﺪﻳﻬﻢ ﻟﻠﺒﻼﺻﺔ ﱄ ﺧﲑﻭﻫﺎ ﻫﻮﻣﺎ‪ ،‬ﻣﺎﻫﻴﺶ ﻟﺒﻼﺻﺔ ﱄ ﳔﲑﻫﺎ ﺃﻧﺎ‪."...‬‬
‫ﰒ ﺃﺻﺒﺢ ﻣﻜﺎﻥ ﺍﻟﺮﻋﻲ ﻓﻀﺎﺀ ﻟﻠﻨﺠﺎﺓ ﻋﻨﺪﻣﺎ ﻣﹼﺜﻞ ﻣﻮﻗﻌﺎ ﻳﺘﻌﺮﻑ ﻓﻴﻪ ﺍﻷﺥ ﻋﻠﻰ ﺃﺧﺘﻪ ﺍﻟﺒﻄﻠﺔ‬
‫"ﻭﻗﺒﻞ ﻃﻠﻮﻉ ﺍﻟﻔﺠﺮ ﺃﺳﺮﻉ ﺃﺧﻮﻫﺎ ﺍﻷﻛﱪ ﻭﺳﺒﻘﻬﺎ ﺇﱃ ﺍﳌﻜﺎﻥ ﺍﶈﺪﺩ ﺭﻓﻘﺔ ﺍﻹﺑﻞ‪ ،‬ﻭﺑﺪﺃﺕ ﺗﺮﻋﻰ‬
‫‪....‬ﻭﰲ ﻫﺬﻩ ﺍﻟﻠﺤﻈﺔ ﺧﺮﺝ ﺃﺧﻮﻫﺎ ﺍﻷﻛﱪ ﻣﻦ ﺑﲔ ﺍﳊﺠﺎﺭﺓ ﻭﺟﻠﺲ ﲜﺎﻧﺒﻬﺎ ﳛﺪ‪‬ﺛﻬﺎ ‪...‬ﻓﻘﺎﻟﺖ ﻟﻪ‬
‫ﺃﻧﺎ ﺃﺧﺘﻚ ﻭﺩﻋﺔ‪."...‬‬

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 ‫ﺏ‪-‬ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﳌﻐﻠﻘﺔ ‪:‬‬
‫ﻛﺎﻧﺖ ﻗﻠﻴﻠﺔ ﺟﺪﺍ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺨﺘﺎﺭﺓ‪ ،‬ﻷﻥ ﺭﻭﺍ‪‬ﺎ ﱂ ﻳﻌﺘﻨﻮﺍ ﺑﻮﺻﻒ ﺍﻷﻣﺎﻛﻦ‬
‫ﺍﳌﻐﻠﻘﺔ ﻭﻻ ﺍﻹﺷﺎﺭﺓ ﺇﻟﻴﻬﺎ ﺇﻻﹼ ﺣﻴﻨﻤﺎ ﻳﻜﻮﻥ ﺍﻷﺷﺨﺎﺹ ﻣﻮﺟﻮﺩﻳﻦ ﻓﻴﻬﺎ‪.‬‬
‫ﻭﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺃﻥﹼ ﺍﻷﻣﻜﻨﺔ ﺍﳌﻐﻠﻘﺔ ﺍﻷﻛﺜﺮ ﺣﻀﻮﺭﺍ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺸﻌﱯ ﻫﻲ ﺍﻟﺒﻴﻮﺕ‬
‫ﻭﺍﳌﻘﺎﻫﻲ ﻭﺍﳌﻄﺎﻋﻢ ‪.‬‬
‫ﻓﻔﻲ ﺣﻜﺎﻳﺎﺗﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺜﻼﺛﺔ ﳓﺼﺮ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﳌﻐﻠﻘﺔ ﻓﻴﻤﺎ ﻳﻠﻲ‪:‬‬
‫ﺃﻣﺎ ﺣﻜﺎﻳﺔ ﴰﺴﺔ ﻭﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻓﻔﻀﺎﺀﺍ‪‬ﺎ ﺍﳌﻐﻠﻘﺔ ﲤﺜﹼﻠﻬﺎ ﺍﻟﺒﻴﻮﺕ ﺣﻴﺚ ﺗﻄﺮﻕ ﺍﻟﺮﺍﻭﻱ ﺇﱃ‬
‫ﺫﻛﺮ ﺑﻴﺖ ﺍﻟﻌﺠﻮﺯﻳﻦ ﻗﺎﺋﻼ‪":‬ﻓﺄﰉ ﺃﻥ ﻳﻔﺘﺤﻬﺎ ﺣﱴ ﻳﻌﻮﺩ ﺇﱃ ﺑﻴﺘﻪ‪ ،‬ﻭﻋﻨﺪ ﻭﺻﻮﻟﻪ‪ ،‬ﺍﺟﺘﻤﻊ ﻣﻊ ﺯﻭﺟﺘﻪ‬
‫ﻭﻓﺘﺤﻬﺎ‪ ،‬ﻓﺈﺫﺍ ﺑﺎﻟﺪﺍﺭ ﲤﺘﻸ ﺿﻴﺎﺀً"‪.‬‬
‫ﻛﻤﺎ ﻭﺻﻒ ﺑﻴﺖ ﺍﻟﺒﻄﻠﲔ ‪،‬ﺑﺄﻧﻪ ﻗﺼﺮ ﲨﻴﻞ ﻻ ﻣﺜﻴﻞ ﻟﻪ "ﻓﺘﺤﻮ‪‬ﻟﺖ ﺇﱃ ﻗﺼﺮ ﺯﺟﺎﺟﻲ ﻳﺸﻊ‬
‫ﺿﻴﺎﺀ‪ ...‬ﻭﻗﺪ ﺩﻫﺶ ﺍﻟﻨﺎﺱ ﲜﻤﺎﻝ ﺍﻟﻘﺼﺮ ﻭﺣﺠﻤﻪ‪ ،‬ﻓﺮﺍﺣﻮﺍ ﻳﺘﻬﺎﻣﺴﻮﻥ ﰲ ﺷﺄﻧﻪ"‪.‬‬
‫ﻛﻤﺎ ﻧﻠﻤﺢ ﰲ ﺁﺧﺮ ﺍﳊﻜﺎﻳﺔ ﺇﺷﺎﺭﺓ ﺇﱃ ﺑﻴﺖ ﺍﻟﺴﻠﻄﺎﻥ ﺩﻭﻥ ﺗﻔﺼﻴﻞ ﻷﻥ ﺍﻟﺮﺍﻭﻱ ﺍﻫﺘﻢ‬
‫ﺑﺎﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺣﻮﺍﺭﺍ‪‬ﻢ ‪.‬‬
‫ﺃﻣﺎﹼ ﺣﻜﺎﻳﺔ ﻭﺩﻋﺔ ﻓﻨﻠﻤﺢ ﻓﻴﻬﺎ ﻓﻀﺎﺀ ﻣﻐﻠﻘﺎ ﳝﹼﺜﻠﻪ ﺑﻴﺖ ﺃﺧﻴﻬﺎ‪ ،‬ﺍﻟﺬﻱ ﺍﻛﺘﻔﻰ ﺍﻟﺮﺍﻭﻱ ﺑﺬﻛﺮ‬
‫ﺍﲰﻪ ﻓﻘﻂ "ﻓﻠﻤﺎ ﻋﺎﺩ ﺃﺧﻮﻫﺎ ﺇﱃ ﺍﻟﺒﻴﺖ‪ ،‬ﻭﻋﻨﺪ ﺗﻘﺴﻴﻤﻪ ﺍﻟﺮﻏﻴﻒ ﺗﻔﺎﺟﺄ ﲟﺎ ﺭﺁﻩ "‪.‬‬
‫ﻋﻤﻮﻣﺎ ﻓﺎﻟﺒﻴﻮﺕ ﺗﻌﺘﱪ ﻓﻀﺎﺀ ﻫﺎﻣﺎ ﰲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻨﺼﻮﺹ ﺍﻟﺮﻭﺍﺋﻴﺔ ﻷﻧ‪‬ﻬﺎ ﺗﺸﻜﻞ ﺑﻌﺪﺍ ﻓﻨﻴﺎ‬
‫ﺧﺎﻟﺼﺎ ﳍﺎ ﻛﻤﺎ ﲢﻤﻞ ﺩﻻﻻﺕ ﳐﺘﻠﻔﺔ ﳝﻜﻦ ﺃﻥ ﳛﻤﻠﻬﺎ ﺍﻟﻨﺺ‪.‬‬
‫ﻭﻣﻦ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﳌﻐﻠﻘﺔ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﺣﻜﺎﻳﺔ "ﺍﻟﺬﻳﺐ ﻭﺍﻟﻘﻨﻔﻮﺩ" ﻓﻀﺎﺀ ﺍﻟﺒﺌﺮ ﺍﻟﺬﻱ ﲪﻞ‬
‫ﺩﻻﻟﺘﲔ ﳐﺘﻠﻔﺘﲔ ﳘﺎ ﺍﳌﻮﺕ ﻭﺍﳊﻴﺎﺓ‪.‬‬
‫ﻓﺎﳌﻮﺕ ﻋﻨﺪﻣﺎ ﺧﺪﻉ ﺍﻟﺬﺋﺐ ﺍﻟﻘﻨﻔﺪ ﻭﺭﻣﺎﻩ ﰲ ﺍﻟﺒﺌﺮ ﻟﻴﺘﺨﻠﺺ ﻣﻨﻪ ﺇﱃ ﺍﻷﺑﺪ‪.‬‬
‫ﻭﺩﻻﻟﺔ ﺍﳊﻴﺎﺓ ﻋﻨﺪﻣﺎ ﺣﻮﻝ ﺍﻟﻘﻨﻔﺪ ﻣﺄﺳﺎﺗﻪ ﺍﻟﱵ ﻭﻗﻊ ﻓﻴﻬﺎ ﻭﻋﻦ ﻃﺮﻳﻖ ﺍﳋﺪﻋﺔ ﺃﻳﻀﺎ ﺇﱃ ﺣﻴﺎﺓ‬
‫ﺭﻏﻴﺪﺓ ﺍﺳﺘﻬﻮﺕ ﺍﻟﺬﺋﺐ ‪.‬‬
‫ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﻓﺈﻥﹼ ﺍﳌﻜﺎﻥ ﺃﻭ ﺍﻟﻔﻀﺎﺀ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ ﻋﻨﺼﺮ ﻣﺮﻛﺰﻱ ﻭﺃﺳﺎﺳﻲ ﰲ ﺍﳊﻜﺎﻳﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﻷﻧﻪ ﳛﺘﻀﻦ ﺷﺨﻮﺻﻬﺎ ﻭ ﺃﺣﺪﺍﺛﻬﺎ ﻭﻳﻌﻄﻴﻬﺎ ﺃﺑﻌﺎﺩﺍ ﻭﺩﻻﻻﺕ ﳐﺘﻠﻔﺔ ‪.‬‬
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 ‫ﺧﺎﺗﻤﺔ‪:‬‬
‫ﻫﻜﺬﺍ ﻳﻨﺘﻬﻲ ﲝﺚ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ ‪-‬ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ‪ ،-‬ﻭﺍﻟﺬﻱ ﺟﺎﺀ ﻋﻠﻰ‬
‫ﺷﻜﻞ ﺻﻮﺭﺓ ﻣﺜﹼﻠﺚ ﺟﺎﻧﺒﺎ ﻣﻦ ﺗﺮﺍﺙ ﺷﻌﱯ ﺿﺨﻢ‪ ،‬ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ ﺍﻧﻌﻜﺎﺱ ﳍﻮﻳﺔ ﺍﳌﻨﻄﻘﺔ ﻭﺃﻫﻠﻬﺎ‬
‫ﻭﺑﻌﺪ ﺭﺣﻠﺔ ﲝﺚ ﳑﺘﻌﺔ ﰲ ﺍﻟﺘ‪‬ﺮﺍﺙ ﺍﳌﺴﻴﻠﻲ‪ ،‬ﲤﻜﹼﻨﺖ ﻣﻦ ﺍﻟﺘﻮﺻﻞ ﺇﱃ ﺍﻟﻨ‪‬ﺘﺎﺋﺞ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫‪ -1‬ﺇﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻨﺼﺮ ﻫﺎﻡ ﻣﻦ ﻋﻨﺎﺻﺮ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ‪ ،‬ﻭﺃﳘﻴﺘﻬﺎ ﺗﻜﻤﻦ ﰲ ﺍﻟﺪ‪‬ﻭﺭ‬
‫ﺍﻟﹼﺬﻱ ﺃﺩﺗﻪ ﰲ ﺗﺮﺳﻴﺦ ﺍﻟﻘﻴﻢ ﺍﻷﺧﻼﻗﻴﺔ ﻭﺣﻔﻈﻬﺎ‪ ،‬ﺑﻌﺪ ﺃﻥ ﺃﻭﺷﻜﺖ ﻋﻠﻰ ﺍﻟﻀﻴﺎﻉ‪.‬‬
‫‪ -2‬ﻟﻘﺪ ﺳﺎﻋﺪﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﺣﻔﻆ ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﳌﺘﺄﺻﻠﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﻭﺫﻟﻚ ﻋـﻦ‬
‫ﻃﺮﻳﻖ ﺭﻭﺍﻳﺘﻬﺎ ﻭﺗﻨﺎﻗﻠﻬﺎ ﻣﺸﺎﻓﻬﺔ ﻋﱪ ﺍﻷﺟﻴﺎﻝ‪ ،‬ﻭﺗﺒﻨﻴﻬﺎ ﳌﻮﺍﺿﻴﻊ ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻛﺘﻠﻚ ﺍﳌﺘﻌﻠﻘـﺔ ﺑﺎﻷﻧﺒﻴـﺎﺀ‬
‫ﻭﺍﻷﻭﻟﻴﺎﺀ ﺍﻟﺼﺎﳊﲔ ﺑﺎﻋﺘﺒﺎﺭﻫﻢ ﺍﻟﻘﺪﻭﺓ ﻭﻣﻀﺮﺏ ﺍﳌﺜﻞ ﻷﻫﻞ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻛﻞﹼ ﺫﻟﻚ ﳑﺰﻭﺝ ﺑﻨﻮﻉ ﻣـﻦ‬
‫ﺍﳋﻴﺎﻝ ﻭﺍﻹﺑﺪﺍﻉ ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ‪.‬‬
‫‪ -3‬ﻟﻘﺪ ﻋﺮﻓﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﰲ ﺍﻷﺯﻣﻨﺔ ﺍﻟﻐﺎﺑﺮﺓ ﺭﻭﺍﺟﺎ ﻭﺍﺯﺩﻫـﺎﺭﺍ ﻛـﺒﲑﻳﻦ‪ ،‬ﻷﻧ‪‬ﻬـﺎ‬
‫ﻭﺑﺒﺴﺎﻃﺔ ﻭﺟﺪﺕ ﺍﻷﺭﺿﻴﺔ ﺍﳋﺼﺒﺔ ﻭﺍﻟﻈﺮﻭﻑ ﺍﻟﱵ ﲢﻴﺎ ﻓﻴﻬﺎ‪ ،‬ﻛﻤﺎ ﺃﻧ‪‬ﻬﺎ ﻻﻗﺖ ﺍﻟﺘﻘﺪﻳﺮ ﻣﻦ ﺭﻭﺍ‪‬ـﺎ‬
‫ﻭﻣﺘﻠﻘﻴﻬﺎ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﹼﺬﻱ ﺍﻧﻌﻜﺲ ﰲ ﻋﺼﺮﻧﺎ ﻫﺬﺍ‪ ،‬ﺣﻴﺚ ﻋﺮﻓﺖ ﺗﺮﺍﺟﻌﺎ ﻓﺎﺩﺣﺎ ﺑﺘﻼﺷـﻲ ﻣﻜﺎﻧﺘـﻬﺎ‪،‬‬
‫ﻭﺗﺮﺍﺟﻊ ﺍﻹﻗﺒﺎﻝ ﻋﻠﻴﻬﺎ ﻋﺪﺍ ﺍﻟﻘﻠﻴﻞ ﺍﻟﻨﺎﺩﺭ ﰲ ﺍﻟﻘﺮﻯ ﻭﺍﳌﺪﺍﺷﺮ‪ ،‬ﻭﺑﻌﺾ ﺍﶈﺎﻭﻻﺕ ﺍﳌﺘﻜﺮﺭﺓ ﻟﻮﺳـﺎﺋﻞ‬
‫ﺍﻹﻋﻼﻡ ﻭﺧﺎﺻﺔ ﺍﻹﺫﺍﻋﻴﺔ‪ ،‬ﻹﺣﻴﺎﺋﻬﺎ ﻣﻦ ﺟﺪﻳﺪ‪.‬‬
‫‪ -4‬ﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻐﻔﻞ ﻋﻦ ﺫﻟﻚ ﺍﻟﺪﻭﺭ ﺍﳌﻬﻢ ﺍﻟﹼﺬﻱ ﺃﺩﺗﻪ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﳌﺘﻤﺜﻞ ﰲ ﳏﺎﻓﻈﺘـﻬﺎ‬
‫ﻋﻠﻰ ﺭﻣﺰ ﻣﻦ ﺭﻣﻮﺯ ﺍﳍﻮﻳﺔ ﺑﺎﳌﻨﻄﻘﺔ ﺃﻻ ﻭﻫﻮﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭﻛﻴﻒ ﺿﻤﻨﺖ ﳍﺎ ﺍﻟﺒﻘـﺎﺀ ‪ ،‬ﰲ ﻭﻗـﺖ‬
‫ﺣﺎﻭﻝ ﻓﻴﻪ ﺍﻻﺳﺘﻌﻤﺎﺭ ﺍﻟﻔﺮﻧﺴﻲ ﺍﻟﻘﻀﺎﺀ ﻋﻠﻴﻬﺎ ﻭﻣﺴﺤﻬﺎ ‪‬ﺎﺋﻴﺎ ﻣﻦ ﺃﻓﻮﺍﻩ ﺍﻟﺸﻌﺐ ﺑﺸﱴ ﺍﻟﻄﺮﻕ‪ ،‬ﺣﺘ‪‬ﻰ‬
‫ﻭﺇﻥ ﻛﺎﻥ ﺷﻌﺎﺭ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻮ ﺍﻟﻌﺎﻣﻴﺔ ﻓﺈﻧ‪‬ﻬﺎ ﺗﺒﻘﻰ ﻋﺮﺑﻴﺔ ﻭﻫﻲ ﻟﻐﺔ ﺍﻟﺸﻌﺐ ﺍﻟـﱵ ﻳﻔﻬﻤﻬـﺎ‬
‫ﻭﻳﺘﺨﺎﻃﺐ ‪‬ﺎ‪ ،‬ﻭﻳﻌﺎﰿ ﳐﺘﻠﻒ ﻣﺸﺎﻛﻠﻪ‪ ،‬ﻭﻳﻌﺒ‪‬ﺮ ﻋﻦ ﻣﺸﺎﻋﺮﻩ ﻭﻣﻜﻨﻮﻧﺎﺗﻪ ﺑﻮﺍﺳﻄﺘﻬﺎ‪.‬‬
‫‪ -5‬ﻟﻘﺪ ﺳﺎﳘﺖ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﰲ ﻭﺿﻊ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳊﻠﻮﻝ ﻟﻠﻤﺸﺎﻛﻞ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﱵ‬
‫ﻳﺘﺨﺒﻂ ﻓﻴﻬﺎ ﺍ‪‬ﺘﻤﻊ ﻛﻤﺎ ﻣﻸﺕ ﻓﺮﺍﻏﺎ ﻛﺒﲑﺍ ﰲ ﺍﳊﻴﺎﺓ ﺍﻷﺩﺑﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ‪.‬‬
‫‪ -6‬ﺇﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﺷﺪﻳﺪﺓ ﺍﻟﺼﻠﺔ ﺑﺄﻫﻞ ﺍﳌﻨﻄﻘﺔ ﻭﻇـﺮﻭﻓﻬﻢ ﻭﺃﺣـﺪﺍﺛﻬﻢ‬
‫ﻭﻣﺒﺎﺩﺋﻬﻢ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﹼﺬﻱ ﻳﺼﻌﺐ ﻓﻴﻪ ﺍﻟﺘﻔﻜﲑ ‪‬ﺎﺋﻴﺎﰲ ﳏﺎﻭﻟﺔ ﺩﺭﺍﺳﺔ ﻧﺼﻮﺻﻬﺎ ﺑﻌﻴﺪﺍ ﻋـﻦ ﺍﳌﻨﻄﻘـﺔ‬
‫ﻭﺃﻫﻠﻬﺎ ﻭﻋﺎﺩﺍ‪‬ﻢ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳﻔﺴﺮﻩ ﺗﻌﺮ‪‬ﺿﻨﺎ ﻟﻠﺠﻮﺍﻧﺐ ﺍﳉﻐﺮﺍﻓﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﻟﻔﻠﻜﻠﻮﺭﻳﺔ ﻟﻠﻤﻨﻄﻘـﺔ‬
‫ﺃﺛﻨﺎﺀ ﺍﻟﺪﺭﺍﺳﺔ‪.‬‬
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‫‪-7‬ﺇﻥﹼ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﻛﻠﻮﻥ ﺃﺩﰊ ﺷﻌﱯ ﺗﺘﻘﺎﻃﻊ ﻣﻊ ﺑﻘﻴﺔ ﺍﻷﻟﻮﺍﻥ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻷﺧﺮﻯ‪ ،‬ﻭﻣـﺎ‬
‫ﺑﻘﺎﻳﺎ ﺍﻟﺴﲑﺓ ﺍﳍﻼﻟﻴﺔ ﺍﳌﺘﻨﺎﺛﺮﺓ ﰲ ﺍﳊﻜﺎﻳﺎﺕ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ﺇﻻﹼ ﺩﻟﻴﻼ ﻋﻠﻰ ﺫﻟﻚ‪.‬‬
‫‪-8‬ﻣﻦ ﺍﳌﻔﻴﺪ ﺟﺪ‪‬ﺍ ﺃﻥ ﻧﻼﺣﻆ ﻭﻧﺴﺘﻮﻋﺐ ﺫﻟﻚ ﺍﻟﺘﻜﺎﻣﻞ ﻭﺍﻟﺘﻄﻮﺭ ﺍﳌﻨﻬﺠﻲ ﺑﲔ ﻧـﺺ ﺍﳊﻜﺎﻳـﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﻟﺮﻭﺍﻳﺔ ﺧﺎﺻﺔ ﰲ ﺟﻮﺍﻧﺒﻪ ﺍﻟﻔﻨﻴﺔ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﺴﺮﺩ ﻭﺍﻟﻮﺻﻒ ﻭﺍﳊﻮﺍﺭ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﳊﻴ‪‬ﺰﻳﻦ‬
‫ﺍﻟﺰﻣﺎﱐ ﻭﺍﳌﻜﺎﱐ‪ ،‬ﻭﺍﻟﺸ‪‬ﺨﺼﻴﺎﺕ ﺃﻳﻀﺎ ﻓﻤﻦ ﻫﺬﺍ ﺍﳌﻨﻄﻠﻖ ﻧﺮﻯ ﺑﻞ ﻧﻌﺘﻘـﺪ ﺃﻥ ﺍﻟﺘﻨﻘﻴـﺐ ﰲ ﻧـﺺ‬
‫ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳌﺴﻴﻠﻴﺔ ﻭﺍﳉﺰﺍﺋﺮﻳﺔ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﻣﺎ ﻳﺰﺍﻝ ﰲ ﺣﺎﺟﺔ ﺇﱃ ﲝﺚ ﻭﺩﺭﺍﺳﺔ ﻣﻌﻤ‪‬ﻘـﺔ‪،‬‬
‫ﻓﻨﺮﺟﻮ ﺃﻥ ﻳﻜﻮﻥ ﲝﺜﻨﺎ ﺍﳌﺘﻮﺍﺿﻊ ﻗﺪ ﻛﺸﻒ ﻋﻦ ﺑﻌﺾ ﺍﳌﺴﺎﺋﻞ ﳑ‪‬ﺎ ﳝﻜﻨﻪ ﻣﻦ ﻓـﺘﺢ ﺍ‪‬ـﺎﻝ ﺃﻣـﺎﻡ‬
‫ﺩﺭﺍﺳﺎﺕ ﻣﻘﺒﻠﺔ‪ ،‬ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺗﻌﻤﻴﻖ ﺍﻟﺒﺤﺚ ﰲ ﺍﻟﻨ‪‬ﺼﻮﺹ ﺍﳊﻜﺎﺋﻴﺔ ﻭﺍﺳﺘﻨﻄﺎﻕ ﺟﻮﻫﺮﻫـﺎ ﻭﻓﻬـﻢ‬
‫ﺭﺳﺎﻟﺘﻬﺎ‪.‬‬
‫ﺃﻣﻠﻲ ﰲ ﺍﳋﺘﺎﻡ ﺃﻥ ﺃﻛﻮﻥ ﻗﺪ ﻻﻣﺴﺖ ﺑﺪﺭﺍﺳﱵ ﺍﳌﺘﻮﺍﺿﻌﺔ ﻫﺬﻩ ﺟﺰﺀًﺍ ﻣﻦ ﺍﳌـﻮﺭﻭﺙ ﺍﻷﺩﰊ‬
‫ﺍﻟﺸﻌﱯ ﺍﳌﺴﻴﻠﻲ‪ ،‬ﻭﺃﻥ ﺃﻧﺎﻝ ﺷﺮﻑ ﺍﻟﻜﺸﻒ ﻋﻦ ﺟﺎﻧﺐ ﻣﻦ ﻫﺬﺍ ﺍﻟﺘ‪‬ﺮﺍﺙ ﺍﻷﺻﻴﻞ ﺍﻟﹼﺬﻱ ﻳﻨﺘﻈﺮ ﻣﻨ‪‬ـﺎ‬
‫ﺍﻻﻟﺘﻔﺎﺗﺔ‪.‬‬
‫ﻭﻻ ﻳﺴﻌﲏ ﰲ ﺍﻷﺧﲑ ﺇﻻﹼ ﺃﻥ ﺃﺭﺩ‪‬ﺩ ﻣﻊ ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ ﻗﻮﳍﺎ‪" :‬ﺇﻥﹼ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﻟﻴﺲ ﳎـﺮﺩ‬
‫ﺗﻌﺒﲑ ﳛﺘﻔﻆ ﺑﻪ ﺍﻟﺸﻌﺐ ﻟﻨﻔﺴﻪ‪ ،‬ﺑﻞ ﻫﻮ ﺻﺮﺧﺔ ﻋﺎﻟﻴﺔ ﺗﺪﻋﻮﻧﺎ ﺇﱃ ﺃﻥ ﻧﺴﺘﻤﻊ ﺇﻟﻴﻬﺎ‪ ،‬ﻭﺃﻥ ﻧﺘﻔﻬ‪‬ﻤﻬـﺎ‬
‫ﻭﺃﻥ ﻧﺘﻌﺎﻃﻒ ﻣﻌﻬﺎ‪ ،‬ﻓﺈﺫﺍ ﻓﻌﻠﻨﺎ ﺫﻟﻚ‪ ،‬ﺃﻣﻜﻨﻨﺎ ﺃﻥ ﻧﺪﻋﻲ ﺃﻧ‪‬ﻨﺎ ﻧﺼﻨﻊ ﺑﻘﺪﺭﺍﺗﻨﺎ ﺍﻟﻌﻠﻤﻴﺔ ﺷـﻴﺌﺎ ﺇﳚﺎﺑﻴـﺎ‬
‫) ‪(1‬‬
‫ﻳﺴﻬﻢ ﰲ ﺍﻟﻜﺸﻒ ﻋﻦ ﻧﻔﺴﻴﺔ ﺍﻟﺸﻌﺐ‪ ،‬ﻭﻣﺎ ﳜﺘﻠﺞ ‪‬ﺎ ﻣﻦ ﺁﻻﻡ ﻭﺁﻣﺎﻝ"‪.‬‬
‫ﻭﷲ ﺍﳊﻤﺪ ﺃﻭ‪‬ﻻ ﻭﺁﺧﺮﺍ‬

‫)‪ (1‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪ ،‬ﺹ‪.8 -7‬‬

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‫اﻟﻣﻼﺣق‬

‫‪- 153 -‬‬

 ‫‪-1‬ﺷ‪‬ﻤ‪‬ﺴ‪‬ﺔ ﻭ‪‬ﻏﹾﻼﹶﻡ‪ ‬ﺍﻟﻠﹼﻴﻞﹾ ‪:‬‬
‫ﺑﺎﺳﻢ ﺍﷲ ﺑ‪‬ﺪﻳﺖ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﻨﱯ ﺻﻠﻴﺖ‪ ،‬ﻭﻣﺎ ﳛﻠﻰ ﻟﻜﻼﻡ‪ ،‬ﻏﲑ ﺑﺎﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ ﺧﲑ ﺍﻷﻧﺎﻡ‬
‫ﳛﻜﻲ ﰲ ﻗﺪﱘ ﺍﻟﺰﻣﺎﻥ‪ ،‬ﺃﻥﹼ ﻣﻠﻜﹰﺎ ﻣﻦ ﺍﳌﻠﻮﻙ ﺃﺭﺍﺩ ﺍﻟﺰﻭﺍﺝ‪ ،‬ﻓﺤﻀﺮﺕ ﺳﺒﻌﺔ ﻧﺴﻮﺓ ﻋﺎﺭﺿﺎﺕ ﺃﻧﻔﺴﻬﻦ‬
‫ﻋﻠﻴﻪ ‪ ،‬ﻭﻛﺎﻧﺖ ﻛﻞﹼ ﻭﺍﺣﺪﺓ ﻣﻨﻬﻦ ﺗﻘﻮﻝ‪ :‬ﺇﺫﺍ ﺗ‪‬ﺰ‪‬ﻭ‪‬ﺟ‪‬ﺖ‪ ‬ﺍﳌﻠﻚ ﻧ‪‬ﺪﻳﺮ‪ (1)‬ﻛﹾﺬﹶﺍ ﻭ‪‬ﻛﹾﺪ‪‬ﺍ‪،‬ﻓﻘﺎﻟﺖ ﺍﻷﻭﱃ‪:‬‬
‫ﻣ‪‬ﻦ‪ ‬ﺣ‪‬ﺒ‪‬ﺔ ﻗﹶﻤ‪‬ﺢ‪ ‬ﻧ‪‬ﺪ‪‬ﻳ‪‬ﺮ ﻣ‪‬ﻴ‪‬ﻌﺎﺩ‪،‬ﻭﻗﺎﻟﺖ ﺍﻟﺜﺎﻧﻴﺔ‪ :‬ﻣ‪‬ﻦ‪ ‬ﺟ‪‬ﺰ‪‬ﺓ ﺻ‪‬ﻮﻑ‪ ‬ﻧ‪‬ﺪ‪‬ﻳﺮ‪ ‬ﺑ‪‬ﺮ‪‬ﻧ‪‬ﻮﺱ‪،‬ﻭﻗﺎﻟﺖ ﺍﻟﺜﺎﻟﺜﺔ‪:‬ﻣ‪‬ﻦ‪ ‬ﺟ‪‬ﻠﹶﺪ‪‬‬
‫ﺑ‪‬ﻮﺳ‪‬ﻜﹾﺮ‪‬ﺓ )‪ (2‬ﻧ‪‬ﺒ‪‬ﻲ ﺩ‪‬ﺍﺭ‪....‬ﻭﻫﻜﺬﺍ‪.‬‬
‫ﻗﺎﻟﺖ ﺍﻟﺴﺎﺑﻌﺔ‪ :‬ﺇﺫﺍ ﺗﺰﻭﺟﺖ ﺍﳌﻠﻚ ﻳﺮﺯﻗﲏ ﺭﺑ‪‬ﻲ ﻃﻔﻞ ﻭﻃﻔﻠﺔ ﻗﺮﻭ‪‬ﻢ ﺫﻫﺐ ﻭﻓﻀﺔ ﺗﺘﺎﺑﻊ‪،‬‬
‫ﻓﺘﺰﻭﺟﻬﻦ ﺍﳌﻠﻚ ﺷﺮﻳﻄﺔ ﺃﻥ ﺗﻔﻲ ﻛﻞﹼ ﻭﺍﺣﺪﺓ ﻣﻨﻬﻦ ﺑﻮﻋﺪﻫﺎ‪.‬‬
‫ﻓﺘﺰﻭ‪‬ﺝ ﺑﺎﻷﻭﱃ ﻏﲑ ﺃﻧ‪‬ﻬﺎ ﱂ ﺗﻒ‪ ‬ﺑﻮﻋﺪﻫﺎ‪ ،‬ﻭﳌﹼﺎ ﺳﺄﳍﺎ ﺍﳌﻠﻚ ﻗﺎﻟﺖ‪ :‬ﺍﻏﺴﻠﹶﺘ‪‬ﻬﺎ ﻭ‪‬ﻧ‪‬ﺸ‪‬ﺮ‪‬ﺗ‪‬ﻬ‪‬ﺎ)‪،(3‬ﻛﻲ‬
‫ﺟﹺﻴ‪‬ﺖ ﻧﻄﺤ‪‬ﻨ‪‬ﻬ‪‬ﺎ ﺟ‪‬ﺎ ﺍﻟﻔﹶﺮ‪‬ﻭﺝ‪ ‬ﻭﺍﻧ‪‬ﻘﹶﺒ‪‬ﻬ‪‬ﺎ)‪ ،(4‬ﻓﺘﺮﻛﻬﺎ ﻭﺗﺰﻭﺝ ﺑﺎﻟﺜﺎﻧﻴﺔ ﻏﲑ ﺃﻧ‪‬ﻬﺎ ﱂ ﺗﺴﺘﻄﻊ ﺻﻨﻊ ﺍﻟﱪﻧﻮﺱ‬
‫ﻣﻦ ﺟﺰﺓ ﻭﺍﺣﺪﺓ ‪.‬‬
‫ﻓﺘﺮﻛﻬﺎ ﻫﻲ ﺍﻷﺧﺮﻯ ﻭﺗﺰ‪‬ﺝ ﺑﺎﻟﺜﺎﻟﺜﺔ ﺍﻟﱵ ﺣﺎﻭﻟﺖ ﺃﻥ ﺗﺒﲏ ﺑﻴﺘﺎ ﻣﻦ ﺟﻠﺪ ﺍﻟﺒﻮﺳﻜﺮﺓ ﻣﻦ ﺩﻭﻥ‬
‫ﺟﺪﻭﻯ ﻓﺘﺮﻛﻬﺎ ﻫﻲ ﺍﻷﺧﺮﻯ‪...‬ﻭﻫﻜﺬﺍ‪.‬‬
‫ﺣﺘ‪‬ﻰ ﺗﺰﻭ‪‬ﺝ ﺑﺎﳌﺮﺃﺓ ﺍﻟﺴﺎﺑﻌﺔ‪ ،‬ﺍﻟﱵ ﲪﻠﺖ‪ ،‬ﻓﺨﺸﻴﺖ ﺍﻟﻨﺴﻮﺓ ﻣﻦ ﲢﻘﻴﻖ ﺃﻣﻨﻴﺘﻬﺎ‪ ،‬ﻓﺒﺪﺅﻭﺍ‬
‫ﻳﻜﻴﺪﻭﻥ ﳍﺎ‪ ،‬ﻭﻋﻨﺪ ﻗﺮﺏ ﻣﻮﻋﺪ ﺍﻟﻮﻻﺩﺓ‪ ،‬ﻗﺎﻣﺖ ﺍﻟﻨﺴﻮﺓ ﺑﺈﺣﻀﺎﺭ ﺳﺘ‪‬ﻮﺕ ‪ ،‬ﻭﺍﻟﺘﺂﻣﺮ ﻣﻌﻬﺎ ﻋﻠﻰ‬
‫ﺯﻭﺟﺔ ﺍﳌﻠﻚ ‪ ،‬ﻭﰲ ﺍﻟﻠﻴﻠﺔ ﺍﳌﻨﺘﻈﺮﺓ ﻭﺿﻌﺖ ﺍﳌﺮﺃﺓ ﻃﻔﻠﲔ‪ ،‬ﺫﻛﺮ ﻭﺃﻧﺜﻰ ﻭﰲ ﺭﺃﺳﻴﻬﻤﺎ ﻗﺮﻭﻥ ﻓﻀﺔ‬
‫ﻭﺫﻫﺐ ﻓﺄﺧﻔﺘﻬﻤﺎ ﺳﺘﻮﺕ ﰲ ﻓﻠﻴﺰﺓ)‪ ، (5‬ﻭﺍﺳﺘﺒﺪﻟﺘﻬﻤﺎ ﺑﻔﺮﺥ ﻏﺮﺍﺏ ‪ ،‬ﻭﺟﺮﻭ ﻛﻼﺏ‪.‬‬
‫ﻭﳌﺎ ﺧﺮﺟﺖ ﺇﱃ ﺍﳌﻠﻚ ﺃﺧﱪﺗﻪ ﺃﻥ ﺯﻭﺟﺘﻪ ﺃﳒﺒﺖ ﻟﻪ ﺣﻴﻮﺍﻧﺎﺕ ‪،‬ﻓﻐﻀﺐ ﺍﳌﻠﻚ‪ ،‬ﻭﺃﺣ ‪‬‬
‫ﺲ‬
‫ﺑﺎﳍﻮﺍﻥ‪ ،‬ﻭﺃﻣﺮ ﺑﺄﻥ ﺗﻮﺿﻊ ﻣﻊ ﺍﳊﻴﻮﺍﻧﺎﺕ ﻣﻊ ﻣﺎ ﺃﳒﺒﺘﻪ‪ ،‬ﻭﻣﻦ ﺫﻟﻚ ﺍﻟﻴﻮﻡ ﻋﺎﺷﺖ ﻫﺬﻩ ﺍﳌﺮﺃﺓ ﺑﲔ‬

‫)‪ (1‬ﺃﹶﻧ‪‬ﺪﻳ‪‬ﺮ= ﺃﻋﻤﻞ‪ ،‬ﺃﳒﺮ‪ ،‬ﺃﺻﻨﻊ‪.‬‬

‫)‪ (2‬ﺑﹺﻮﺳﻜﺮﺓ = ﺍﳋﻨﻔﺴﺎﺀ‬
‫)‪ (3‬ﻧ‪‬ﺸ‪‬ﺮ‪‬ﺎ=ﻭ‪‬ﺿ‪‬ﻌ‪‬ﺘ‪‬ﻬ‪‬ﺎ ﻟ‪‬ﺘ‪‬ﺠﻒ‪‬‬
‫)‪ (4‬ﻧﻨ‪‬ﻘﹶﺒ‪‬ﻬﺎ = ﻧ‪‬ﻘﹶﺒ‪‬ﻬ‪‬ﺎ‪ ،‬ﻭ‪‬ﻫ‪‬ﻲ ﻃﹶﺮﹺﻳﻘﺔ ﺃﻛﹾﻞﹺ ﺍﻟﻄﱡﻴﻮﺭ ﻋﻤﻮﻣ‪‬ﺎ‪.‬‬
‫)‪ (5‬ﻓﹶﻠ‪‬ﻴﺰﺓ = ﺣ‪‬ﻘ‪‬ﻴ‪‬ﺒﺔ ‪.‬‬
‫‪- 154 -‬‬
‫ﺣﻴﻮﺍﻧﺎﺕ ﺍﳌﻠﻚ ﺗﺄﻛﻞ ﻣﻦ ﺃﻛﻠﻬﻢ ﻭﺗﺸﺮﺏ ﻣﻦ ﺷﺮﺍ‪‬ﻢ‪ ،‬ﺑﻴﻨﻤﺎ ﺳﺘ‪‬ﻮﺕ ﺃﺧﺬﺕ ﺍﻟﻔﻠﻴﺰﺓ ﺑﺎﻟﺮﺿﻴﻌﲔ‬
‫ﻭﺭﻣﺘﻬﺎ ﰲ ﺍﻟﺒﺤﺮ‪.‬‬
‫ﻭﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﺟﺎﺀ ﺻﻴﺎﺩ ﻋﺠﻮﺯ ﻟﻴﺼﻄﺎﺩ‪ ،‬ﻟﻜﻨﻪ ﰲ ﺫﻟﻚ ﺍﻟﻴﻮﻡ ﱂ ﳛﺎﻟﻔﻪ ﺍﳊﻆ ﻓﻠﻢ‬
‫ﻳﺼﻄﺪ ﻭﻻ ﲰﻜﺔ‪ ،‬ﺣﱴ ﻳﺌﺲ ﻭﺃﻗﺮ‪ ‬ﰲ ﺫﺍﺗﻪ ﺑﺄﻥ ﺗﻜﻮﻥ ﻫﺬﻩ ﺍﶈﺎﻭﻟﺔ ﺍﻷﺧﲑﺓ‪ ،‬ﻓﺮﻣﻰ ﺷﺒﻜﺘﻪ ﻭﳌﺎ‬
‫ﺳﺤﺒﻬﺎ ﻭﺟﺪ ﻓﻴﻬﺎ ﺍﻟﻔﻠﻴﺰﺓ‪ ،‬ﻓﺄﰊ ﺃﻥ ﻳﻔﺘﺤﻬﺎ ﺣﱴ ﻳﻌﻮﺩ ﺇﱃ ﺑﻴﺘﻪ ﻭﻋﻨﺪ ﻭﺻﻮﻟﻪ ﺍﺟﺘﻤﻊ ﻣﻊ ﺯﻭﺟﺘﻪ‬
‫ﻭﻓﺘﺤﻬﺎ‪ ،‬ﻓﺈﺫﺍ ﺑﺎﻟﺪﺍﺭ ﲤﺘﻠﺊ ﺿﻴﺎﺀ‪ ،‬ﻓﻔﺮﺣﺎ ﻓﺮﺣ‪‬ﺎ ﺷﺪﻳﺪ‪‬ﺍ ﻷ‪‬ﻤﺎ ﻛﺎﻧﺎ ﳏﺮﻭﻣﲔ ﻣﻦ ﺍﻹﳒﺎﺏ‪.‬‬
‫ﻓﻘﺎﻟﺖ ﺍﻟﺰﻭﺟﺔ ﲟﺠﺮ‪‬ﺩ ﺃﻥ ﺭﺃ‪‬ﻤﺎ‪ :‬ﻳ‪‬ﺎﺳ‪‬ﻌ‪‬ﺪﻱ ﺑ‪‬ﺒﻨ‪‬ﺘ‪‬ﻲ ﺷ‪‬ﻤ‪‬ﺴ‪‬ﺔ‪ ،‬ﻭﻗﺎﻝ ﺍﻟﺰﻭﺝ‪ :‬ﻳ‪‬ﺎﺳ‪‬ﻌ‪‬ﺪ‪‬ﻱ ﺑﹺﻮ‪‬ﻟ‪‬ﻴﺪ‪‬ﻱ‬
‫ﻏﹾﻼﹶﻡ‪ ‬ﺍﻟﻠﱠﻴﻞﹾ ﻭﺗﺮﺑ‪‬ﻲ ﺍﻟﻮﻟﺪﺍﻥ ﰲ ﻛﻨﻒ ﺍﻟﺼ‪‬ﻴﺎﺩ ﻭﺯﻭﺟﺘﻪ‪.‬‬
‫ﺭﺍﺡ ﺯ‪‬ﻣﺎﻥ ﻭ‪‬ﺟ‪‬ﺎ ﺯﻣﺎﻥ‪ ،‬ﻭﻛﱪ ﺍﻟﻮﻟﺪﺍﻥ‪ ،‬ﻭﺻﺎﺭﺕ ﺍﻟﺒﻨﺖ ﻓﺘﺎﺓ ﺷﺎﺑﺔ ﲨﻴﻠﺔ ﻭﺍﻟﻮﻟﺪ ﺻﺒﻴﺎ ﻳﺎﻓﻌﺎﹶ‪،‬‬
‫ﻓﻜﺎﻧﺖ ﺍﻟﺒﻨﺖ ﴰﺴﺔ ﺗﻘﻀﻲ ﻳﻮﻣﻬﺎ ﻣﻊ ﻭﺍﻟﺪ‪‬ﺎ ﺃﻣ‪‬ﺎ ﻏﻼﻡ ﺍﻟﻠﻴﻞ‪ ،‬ﻓﻜﺎﻥ ﻳﺪﺭﺱ ﰲ ﺍﳉﺎﻣﻊ‪ ،‬ﻭﻛﺎﻥ‬
‫ﻣﺘﻔﻮﻗﺎ ﻋﻠﻰ ﺃﻗﺮﺍﻧﻪ‪ ،‬ﺣﱴ ﺃﻧ‪‬ﻪ ﺻﺎﺭ ﳏﻂﱠ ﺃﻧﻈﺎﺭ ﺍﳊﺴﺎﺩ ﻭﺍﳌﺎﻛﺮﻳﻦ ﻟﺴﺮﻋﺔ ﺑﺪﺍﻫﺘﻪ ﻭﻗﻮ‪‬ﺓ ﺫﻛﺎﺋﻪ‪.‬‬
‫ﻛﻤﺎ ﺃﻥﹼ ﺯﻭﺟﻪ ﻣﻌﻠﻤﻪ ﺑﻨﻠﻴﻬﻮﺩﻱ‪ ،‬ﺃﺣﺒﺘﻪ ﻓﻘﺎﻣﺖ ﺑﺈﻃﻼﻋﻪ ﻋﻠﻰ ﺳﺮ ﺯﻭﺟﻬﺎ ﺍﳌﻌﻠﹼﻢ ﻭﻛﻴﻔﻴﺔ‬
‫) ‪(1‬‬
‫ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﻋﻠﻤﻪ‪ ،‬ﻓﺄﺭﺷﺪﺗﻪ ﺇﱃ ﺃﻥ ﻳﺬﻫﺐ ﺇﱃ ﻣﻌﻠﹼﻤﻪ ﺃﺛﻨﺎﺀ ﻃﻬﻴﻪ ﻟﻠﺤﻢ ﻭﳜﻄﻒ ﺃﻭﻝ ﻫﱪﺓ‬
‫ﻳﺮﻓﻌﻬﺎ ﻏﻠﻴﺎﻥ ﺍﳌﺎﺀ‪ ،‬ﻭﻳﺄﻛﻠﻬﺎ‪ ،‬ﻓﻔﻌﻞ ﻣﺎ ﻗﺎﻟﺘﻪ ﻟﻪ ﺯﻭﺟﺔ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ‪.‬‬
‫ﻭﻟﹼﻤﺎ ﻋﺎﺩ ﺇﱃ ﺍﻟﺒﻴﺖ ﻭﺟﺪ ﺃﺧﺘﻪ ﴰﺴﺔ ﺗﺒﻜﻲ ﻭﺭﺍﺀ ﺍﻟﺒﻴﺖ ﻓﺴﺄﳍﺎ ﻗﺎﺋﻼ ‪ :‬ﻭ‪‬ﺍﺵ‪ ‬ﺑﻴﻚ‪ ‬ﻳﺎ‬
‫ﺷ‪‬ﻤ‪‬ﺴ‪‬ﺔ؟ ﻓﻘﺎﻟﺖ ﻟﻪ ‪ :‬ﺭ‪‬ﺍﻧﹺﻲ ﺗ‪‬ﻌ‪‬ﺎﻓﹶﺮﺕ‪ (2)‬ﺃﹶﻧ‪‬ﺎ ﻭ‪‬ﻣ‪‬ﺎ ‪.‬ﻭ‪‬ﻗﺎﻟﹾﺘ‪‬ﻠﻲ‪ :‬ﺑ‪‬ﻠﹼﻲ‪(3)‬ﺭﺍﻧ‪‬ﺎ ﻣ‪‬ﺎﻧ‪‬ﺎﺵ‪ (4) ‬ﻭ‪‬ﻻﹶﺩﻫ‪‬ﻢ‪ ‬ﻣ‪‬ﻦ‪‬‬
‫ﺻ‪‬ﻠﹶﺒ‪‬ﻬ‪‬ﻢ‪ ،‬ﻭ‪‬ﺑ‪‬ﻠ‪ّ‬ﻲ ﺭ‪‬ﺍﻧ‪‬ﺎ ﻭ‪‬ﻻﹶﺩ‪ ‬ﻟﹶﺒ‪‬ﺤ‪‬ﺮ‪.‬‬
‫ﻋﻨﺪﻫﺎ ﻗﺮ‪‬ﺭ ﺍﻟﻮﻟﺪﺍﻥ ﺃﻥ ﻳﺮﺩ‪‬ﺍ ﳍﻤﺎ ﺣﺴﻦ ﺻﻨﻴﻌﻬﻤﺎ ﰒ ﻳﻐﺎﺩﺭﺍ ﲝﺜﺎ ﻋﻦ ﻭﺍﻟﺪﻳﻬﻤﺎ ﺍﳊﻘﻴﻘﻴﲔ‪،‬‬
‫ﻓﻄﻠﺐ ﺍﻟﻮﻟﺪ ﺃﻥ ﻳﺬﻫﺐ ﻣﻊ ﺃﺑﻴﻪ ﺍﻟﺼﻴ‪‬ﺎﺩ ﺇﱃ ﺍﻟﺴﻮﻕ‪ ،‬ﺑﻌﺪ ﺃﻥ ﻳﺘﺤﻮ‪‬ﻝ ﺇﱃ ﻫﻴﺌﺔ ﺛﻮﺭ ﲰﲔ ﻻ ﻣﺜﻴﻞ ﻟﻪ‬
‫ﻟﻴﺒﻴﻌﻪ ﺑﺄﻏﻠﻰ ﺳﻌﺮ‪ ،‬ﺷﺮﻁ ﺃﻥ ﻻ ﻳﺒﻴﻊ ﺍﻟﻌﻘﺪ ﺍﻟﺬﻱ ﻳﺮﺑﻄﻪ ﺑﻪ ﺑﻞ ﻳ‪‬ﺒﻘﻴﻪ ﻋﻨﺪﻩ ﺣﱴ ﻳﺴﺘﻄﻊ ﺍﻟﻌﻮﺩﺓ ﺇﻟﻴﻪ‪،‬‬
‫ﻭﻓﻌﻼ ﺑﺎﻋﻪ ﺑﺜﻤﻦ ﺑﺎﻫﻆ ﻏﲑ ﺃﻧﻪ ﻭﲟﺠﺮﺩ ﺭﺑﻂ ﻣﺸﺘﺮﻳﻪ ﻟﻪ‪ ،‬ﺍﺧﺘﻔﻰ ﻭﻋﺎﺩ ﺇﱃ ﺑﻴﺘﻪ‪ ،‬ﻭﻫﻜﺬﺍ ﰲ ﻛﻞﹼ‬
‫ﺳﻮﻕ‪.‬‬

‫)‪ (1‬ﻫﱪﺓ = ﻗﻄﻌﺔ ﺍﻟﻠﺤﻢ ﺍﳋﺎﻟﻴﺔ ﻣﻦ ﺍﻟﻌﻈﻢ‪.‬‬

‫)‪ (2‬ﺗﻌﺎﻓﺮﺕ= ﺗ‪‬ﺸ‪‬ﺎﺟ‪‬ﺮ‪‬ﺕ‪. ‬‬
‫)‪ (3‬ﺑ‪‬ﻠﹼﻲ‪ = ‬ﺑﺄﻥﹼ‪.‬‬
‫)‪ (4‬ﻣ‪‬ﺎﻧ‪‬ﺎﺵ‪= ‬ﻟﹶﺴ‪‬ﻨ‪‬ﺎ ‪.‬‬
‫‪- 155 -‬‬
‫ﻭﰲ ﻣﺮ‪‬ﺓ ﻣﻦ ﺍﳌﺮ‪‬ﺍﺕ ﲢﻮ‪‬ﻝ ﺇﱃ ﺣﺼﺎﻥ ﱂ ﻳ‪‬ﺮﻯ ﻟﻪ ﻣﺜﻴﻞ ﻭﺫﻫﺐ ﺑﻪ ﻭﺍﻟﺪﻩ ﺇﱃ ﺍﻟﺴﻮﻕ ﺷﺮﻳﻄﺔ‬
‫ﺃﻥ ﳛﺘﻔﻆ ﺑﺎﻟﻠﺠﺎﻡ ﻟﻜﻦ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﰲ ﻫﺬﻩ ﺍﳌﺮﺓ ﺗﻔﻄﻦ ﻟﻸﻣﺮ ﻭﻟﺴﺮ ﲨﺎﻝ ﻫﺬﺍ ﺍﳊﺼﺎﻥ‪ ،‬ﻭﺃﺩﺭﻙ‬
‫ﺃﻥ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻗﺪ ﺳﺮﻕ ﻟﻪ ﻋﻠﻤﻪ‪ ،‬ﻓﻘﺮﺭ ﺃﻥ ﻳﺸﺘﺮﻱ ﻫﺬﺍ ﺍﳊﺼﺎﻥ ﺑﺄﻱ ﲦﻦ ﻓﻠﻤﺎ ﻃﻠﺒﻪ ﻣﻦ ﺍﻟﺼﻴﺎﺩ‬
‫ﺭﻓﺾ ﺃﻥ ﻳﺒﻴﻌﻪ ﺍﻟﻠﺠﺎﻡ‪ ،‬ﻓﺄﺻﺮ‪ ‬ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﻋﻠﻰ ﺃﻥ ﻻ ﻳﺄﺧﺬ ﺍﳊﺼﺎﻥ ﺇﻻ ﻭﺍﻟﻠﺠﺎﻡ ﻣﻌﻪ ﻭﺍﺷﺘ‪‬ﺪ‬
‫ﺑﻴﻨﻬﻤﺎ ﺍﳉﺪﺍﻝ ﺣﱴ ﺃﻧ‪‬ﻬﻤﺎ ﺫﻫﺒﺎ ﺇﱃ ﺍﻟﻘﺎﺿﻲ ﻟﻴﺤﻜﻢ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻓﺤﻜﻢ ﺍﻟﻘﺎﺿﻲ ﻟﺼﺎﱀ ﺑﻦ ﻟﻴﻬﻮﺩﻱ‪،‬‬
‫ﻓﻌﺎﺩ ﺍﻟﺼﻴﺎﺩ ﺣﺰﻳﻨﺎ ﺇﱃ ﺑﻴﺘﻪ‪ ،‬ﺃﻣ‪‬ﺎ ﺑﻦ ﺍﻟﻴﻬﻮﺩﻱ ﻓﻘﺪ ﻋﺎﻣﻞ ﺍﳊﺼﺎﻥ ﻣﻌﺎﻣﻠﺔ ﺳﻴﺌﺔ ﻭﺣﺮﺹ ﻋﻠﻰ ﺃﻥ ﻻ‬
‫ﻳﻨﺰﻉ ﻋﻨﻪ ﺍﻟﻠﺠﺎﻡ ﺃﻱ ﺃﺣﺪ‪.‬‬
‫ﻭﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﺫﻫﺐ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﺇﱃ ﻋﻤﻠﻪ ﻓﺠﺎﺀ ﺃﺣﺪ ﺃﺻﺪﻗﺎﺀ ﺍﺑﻨﻪ ﳝﺘﻄﻲ ﺣﺼﺎﻧﻪ‬
‫ﻓﻄﻠﺐ ﻣﻦ ﺍﺑﻦ ﺑﻨﻠﻴﻬﻮﺩﻱ ﺃﻥ ﻳﺄﰐ ﲝﺼﺎﻧﻪ ﻟﻴﺬﻫﺒﺎ ﰲ ﺟﻮﻟﺔ‪ ،‬ﻓﻘﺎﻝ ﻟﻪ‪ :‬ﺭ‪‬ﺍﱐ ﺧ‪‬ﺎﻳ‪‬ﻒ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺃﹶﺑ‪‬ﻲ‪ ‬ﺭﺍﻩ‬
‫ﻭﺻ‪‬ﺎﻧ‪‬ﺎ ﻣﺎ ﻧﺮﻛﺒﻮﻩ ﻣﺎ ﻧﺪﻭﺭﻭﺍ ﺑﻴﻪ‪ ،‬ﻓﻘﺎﻝ ﻟﻪ ﺻﺪﻳﻘﻪ‪ :‬ﺃﺑﻴﻚ)‪ (1‬ﻣ‪‬ﺎﻫ‪‬ﻮﺵ‪ ‬ﺍﻫ‪‬ﻨ‪‬ﺎ)‪ ،(2‬ﻭﻣ‪‬ﺎﻫ‪‬ﻮﺵ‪ ‬ﺭ‪‬ﺍﻳ‪‬ﺢ‬
‫ﻳ‪‬ﺸ‪‬ﻮﻓﹶﻚ‪. ‬‬
‫ﻓﺮﻛﺐ ﺍﻟﻮﻟﺪﺍﻥ ﻭﻏﺎﺩﺭﺍ‪ ،‬ﻭﺑﻴﻨﻤﺎ ﳘﺎ ﻳﺘﺠﻮﻻﻥ ﻣﺮ‪‬ﺍ ﺑﻮﺍﺩ ﻟﻴﺴﻘﻴﺎ ﺍﳊﺼﺎﻧﲔ‪ ،‬ﻓﺎﺳﺘﻌﺺ ﻋﻠﻰ‬
‫ﺣﺼﺎﻥ ﺍﺑﻦ ﺑﻠﻴﻬﻮﺩﻱ ﺍﻟﺸﺮﺏ ﻓﺘﻨﺒﻪ ﺻﺪﻳﻘﻪ ﻗﺎﺋﻼ‪ :‬ﻻﻩ ﻣ‪‬ﻨ‪‬ﺤﻴﺘ‪‬ﻠﹸﻮﺵ‪ ‬ﺍﻟﻠﺠﺎﻡ ﻫﻜﺬﺍ ﺭﺍﻩ ﻣﺎ ﻳﻘﺪﺭﺵ‬
‫ﻳﺸﺮﺏ ﻓﻨﺰﻉ ﺍﺑﻦ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﺍﻟﻠﺠﺎﻡ‪ ،‬ﻭﰲ ﺗﻠﻚ ﺍﻟﻠﺤﻈﺔ ﲢﻮﻝ ﺍﳊﺼﺎﻥ ﺇﱃ ﲰﻜﺔ ﲡﺮﻱ ﰲ ﺍﻟﻮﺍﺩ‪،‬‬
‫ﻓﺄﺣﺲ‪ ‬ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﺑﺬﻟﻚ ﻭﺃﺳﺮﻉ ﳓﻮ ﺍﻟﻮﺍﺩ ﻭﲢﻮﻝ ﺇﱃ ﲰﻜﺔ ﻛﺒﲑﺓ ﺗﺮﻳﺪ ﺃﻛﻞ ﺍﻟﺴﻤﻜﺔ‬
‫ﺍﻟﺼﻐﲑﺓ‪...‬ﻭﺍﺳﺘﻤﺮﺕ ﺍﳌﻄﺎﺭﺩﺓ ﲢﺖ ﺍﳌﺎﺀ‪.‬‬
‫ﰒ ﲢﻮ‪‬ﻝ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺇﱃ ﻃﺎﺋﺮ ﰲ ﺍﻟﺴﻤﺎﺀ ﻓﺘﺤﻮ‪‬ﻝ ﺑﻨﻠﻴﻬﻮﺩﻱ ﺇﱃ ﻋﻘﺎﺏ ﻳﺮﻳﺪ ﺍﻻﻧﻘﻀﺎﺽ‬
‫ﻋﻠﻴﻪ‪ ،‬ﻭﺃﺧﺬ ﻳﻼﺣﻘﻪ ﰲ ﺍﳉﻮ‪ ،‬ﻓﺘﺤﻮ‪‬ﻝ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺇﱃ ﺧﺎﰎ ﰲ ﺃﺻﺒﻊ ﺃﺧﺘﻪ‪ ،‬ﻭﲢﻮ‪‬ﻝ ﺍﻟﻌﻘﺎﺏ ﺇﱃ‬
‫ﻋﺠﻮﺯ ﻭﻗﺎﻣﺖ ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﺑﻄﺮﻕ ﺍﻟﺒﺎﺏ ﻣﺪﻋﻴﺔ ﺿﻴﺎﻉ ﺧﺎﲤﻬﺎ‪ ،‬ﻓﺎﻧﺰﻋﺠﺖ ﴰﺴﺔ ﻭﺭﻣﺖ ﺑﺎﳋﺎﰎ‬
‫ﺑﻌﻴﺪ‪‬ﺍ‪ ،‬ﻓﺘﺤﻮ‪‬ﻝ ﺇﱃ ﺣﺒ‪‬ﺎﺕ ﺭﻣﺎﻥ ﻣﺘﻨﺎﺛﺮﺓ‪ ،‬ﻓﺘﺤﻮ‪‬ﻟﺖ ﺍﻟﻌﺠﻮﺯ ﺇﱃ ﺩﻳﻚ‪ ،‬ﻳﻨﻘﺮ ﺣﺒﺎﺕ ﺍﻟﺮﻣﺎﻥ ﺇﱃ ﺃﻥ‬
‫ﺑﻘﻴﺖ ﺣﺒﺔ ﻭﺍﺣﺪﺓ ﻓﺘﺤﻮ‪‬ﻟﺖ ﺇﱃ ﺳﻜﲔ ﺫﺑﺢ ﺍﻟﺪﻳﻚ‪ ،‬ﻭﻫﻜﺬﺍ ﲣﻠﹼﺺ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻣﻦ ﺍﺑﻦ ﺑﻠﻴﻬﻮﺩﻱ‬
‫ﻭﺭﺩ‪ ‬ﺩﻳﻦ ﺍﻟﺼﻴﺎﺩ ﺍﻟﺬﻱ ﻋﻠﻴﻪ ﰒ ﻏﺎﺩﺭ ﺍﻟﺒﻴﺖ ﻫﻮ ﻭﺃﺧﺘﻪ ﻭﺭﺍﺣﺎ ﳝﺸﻴﺎﻥ ﰲ ﺍﻷﺭﺽ ﺩﻭﻥ ﺃﻥ ﻳﻌﺮﻓﺎ‬

‫)‪ (1‬ﺃﺑﻴﻚ = ﺃﺑﻮﻙ‬

‫)‪ (2‬ﻣﺎﻫﻮﺵ ﺍﻫﻨﺎ= ﻟﻴﺲ ﻫﻨﺎ‬
‫‪- 156 -‬‬
‫ﺍﲡﺎﻫﻬﻤﺎ ﻓﺎﻟﺘﻘﻴﺎ ﺷﻴﺨﺎ ﻛﺒﲑ‪‬ﺍ ﻳﻠﺒﺲ ﺍﻷﺑﻴﺾ‪ ،‬ﻓﻘﺎﻝ ﳍﻤﺎ‪ :‬ﻭﻳ‪‬ﻦ ﺭﺍﻛﹸﻢ ﺭ‪‬ﺍﻳ‪‬ﺤ‪‬ﲔ‪ ‬؟)‪(1‬ﻓﻘﺎﻻ ﻟﻪ‪ :‬ﻣ‪‬ﺎ‬
‫ﻋﻨﺪ‪‬ﻧ‪‬ﺎﺵ‪ (2) ‬ﺣ‪‬ﺘ‪‬ﻰ ﺑ‪‬ﻼﹶﺻ‪‬ﺔ )‪(3‬ﺃﺭﻭ‪‬ﺣ‪‬ﻮﻟ‪‬ﻴﻬﺎ ‪.‬‬
‫ﻓﺄﺣﺲ ﺍﻟﺸﻴﺦ ﺑﺎﻟﺸﻔﻘﺔ ﻋﻠﻴﻬﻤﺎ ﻓﺄﻋﻄﺎﳘﺎ ﻋﺼ‪‬ﺎ ﺳﺤﺮﻳﺔ ﻭﻗﺎﻝ ﳍﻤﺎ‪ :‬ﻭﹺﻳ‪‬ﻦ ﻧ‪‬ﻮﹺﻳﺘ‪‬ﻮ ﺍﺗ‪‬ﺒ‪‬ﺎﺗ‪‬ﻮ‬
‫ﺃﹶﺭ‪‬ﺷ‪‬ﻘﹸﻮﻫ‪‬ﺎ )‪(4‬ﰲ ﻟﹶﺮﺽ‪.‬‬
‫ﻓﺄﻣﺴﻚ ﺍﻟﻮﻟﺪ ﺑﺎﻟﻌﺼﺎ ﻭﻭﺍﺻﻼ ﺍﳌﺴﲑ‪ ،‬ﻭﻣﻦ ﺣﺴﻦ ﺍﻟﺼﺪﻑ ﺃ‪‬ﻤﺎ ﺍﻟﺘﻘﻴﺎ ﺑﻮﺍﻟﺪﳘﺎ ﺍﳌﻠﻚ ﺩﻭﻥ‬
‫ﺃﻥ ﻳﻌﺮﻑ ﺃﺣﺪﳘﺎ ﺍﻵﺧﺮ‪ ،‬ﻓﺴﺄﻟﻮﻩ ﺃﻥ ﻳ‪‬ﺮﺷﺪﳘﺎ ﺇﱃ ﺃﺭﺽ ﺧﺎﻟﻴﺔ ﻳﺒﻴﺘﺎ ﻓﻴﻬﺎ ؟ ﻓﻘﺎﻝ ﳍﻤﺎ‪ :‬ﻫﺬﻱ‬
‫ﻟﹶﺮ‪‬ﺽ ﺃﹸﻛﹸﻞﹾ)‪ (5‬ﻟﻴ‪‬ﺎ ﻭﻳ‪‬ﻦ‪ ‬ﻫ‪‬ﻮﺍﻟﹾﻜﻢ‪(6) ‬ﺑ‪‬ﺎﺗ‪‬ﻮ‪.‬‬
‫ﻭﺃﲤﹼﺎ ﺍﻟﻄﺮﻳﻖ ﻭﻋﻨﺪ ﺣﻠﻮﻝ ﺍﻟﻈﻼﻡ ﻏﺮﺱ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺍﻟﻌﺼﺎ ﺍﻟﺴﺤﺮﻳﺔ ﰲ ﺍﻷﺭﺽ ﻓﺘﺤﻮﻟﺖ ﺇﱃ‬
‫ﻗﺼﺮ ﺯﺟﺎﺟﻲ ﻳﺸﻊ‪ ‬ﺿﻴﺎﺀ‪ ،‬ﻭﻗﻀﻴﺎ ﺗﻠﻚ ﺍﻟﻠﻴﻠﺔ ﰲ ﻣ‪‬ﻠﻜﻬﻤﺎ ﺩﻭﻥ ﺃﻥ ﻳﻌﺮﻓﺎ ﺑﺬﻟﻚ‪.‬‬
‫ﻭﰲ ﺍﻟﺼﺒﺎﺡ ﻗﺎﻡ ﺍﳌﺆﺫﻥ ﻟﻴﺆﺫﻥ ﺍﻟﻔﺠﺮ‪ ،‬ﻭﺑﺪﻝ ﺃﻥ ﻳﻘﻮﻝ ﺍﷲ ﺃﻛﱪ ﻗﺎﻝ‪ :‬ﺍﷲ ﺃﹶﻛﹾﻔﹶﺮ‪،‬ﻓﻘﺎﻝ ﻟﻪ‬
‫ﺍﳌﻠﻚ‪ :‬ﺍﺳﺘﻐﻔﺮ ﺭﺑ‪‬ﻚ‪ ،‬ﻭﻗﺪ ﻗﺎﻝ ﺍﳌﺆﺫﻥ ﺫﻟﻚ ﻟﺸﺪﺓ ﺿﻴﺎﺀ ﺍﻟﻘﺼﺮ‪ ،‬ﻟﻀﻨﻪ ﺃﻥﹼ ﺍﻟﺸﻤﺲ ﺃﺷﺮﻗﺖ ﻣﻦ‬
‫ﻣﻐﺮ‪‬ﺎ ﻭﻫﻮ ﺩﻟﻴﻞ ﺍﻟﻘﻴﺎﻣﺔ ‪.‬‬
‫ﻭﻗﺪ ﺩﻫﺶ ﺍﻟﻨﺎﺱ ﲜﻤﺎﻝ ﺍﻟﻘﺼﺮ ﻭﺣﺠﻤﻪ ﻓﺮﺍﺣﻮﺍ ﻳﺘﻬﺎﻣﺴﻮﻥ ﰲ ﺷﺄﻧﻪ‪ ،‬ﺇﱃ ﺃﻥ ﻭﺻﻞ ﺍﳋﱪ‬
‫ﺇﱃ ﺳﺘ‪‬ﻮﺕ ﺍﻟﱵ ﺃﺳﺮﻋﺖ ﺇﱃ ﺗﻘﺼﻲ ﺍﻷﻣﺮ ﻋﻠﹼﻬﺎ ﺗﻌﺮﻑ ﺳﺮ‪ ‬ﻫﺬﺍ ﺍﻟﻘﺼﺮ ﻭﺗﺴﺘﺤﻮﺫ ﻋﻠﻴﻪ‪ ،‬ﻭﻋﻨﺪ‬
‫ﻭﺻﻮﳍﺎ ﺑﺎﺏ ﺍﻟﻘﺼﺮ ﺩﺧﻠﺖ ﻓﻮﺟﺪﺕ ﺍﻟﻔﺘﺎﺓ ﻭﺣﺪﻫﺎ ﻭﺭﺍﺣﺖ ﺗﺘﺄﻣﻞ ﰲ ﻛﻞ ﺭﻛﻦ ﻣﻦ ﺃﺭﻛﺎﻥ ﳑﺎ‬
‫ﺯﺍﺩﻫﺎ ﻃﻤﻌ‪‬ﺎ ﻓﻴﻪ‪.‬‬
‫ﻓﺄﺧﺬﺕ ﺍﻟﻌﺠﻮﺯ ﺗﻔﻜﹼﺮ ﰲ ﻃﺮﻳﻘﺔ ﺗﻘﻀﻲ ‪‬ﺎ ﻋﻠﻰ ﺍﻷﺧﻮﻳﻦ ﻭﻗﺎﻟﺖ ﻟﻠﻔﺘﺎﺓ‪ :‬ﻟﻘﺼﺮ ﻧﺘﺎﻋﻜﻢ‬
‫ﻫﺎﻳﻞ ﺑﺼﺢ ﻳﻨﻘﺼﻮﺍ ﺣﺎﺟﺔ‪ ،‬ﻓﻘﺎﻟﺖ ﴰﺴﺔ‪ :‬ﻭﺍﺵ ﻫﻲ ﻫﺬﻱ ﺍﳊﺎﺟﺔ؟ ﻓﻘﺎﻟﺖ ﳍﺎ ﺳﺘﻮﺕ‪ :‬ﺍﻟﺘﻔﹶﺎﺡ‪‬‬
‫ﺍﻟﻠﹼﻲ ﻳﻔﻮﺡ‪ ،‬ﺃﻟﻠﹼﻲ ﻳ‪‬ﺮ‪‬ﺩ ﺍﻟﺮ‪‬ﻭﺡ ﻭﻳ‪‬ﺮ‪‬ﺟ‪‬ﻊ‪ ‬ﺍﻟﺸ‪‬ﺎﻳ‪‬ﺐ‪ ‬ﺷ‪‬ﺒ‪‬ﺎﺏ‪.‬‬

‫)‪ (1‬ﺭ‪‬ﺍﻳ‪‬ﺤ‪‬ﲔ‪ = ‬ﺫﺍﻫ‪‬ﺒﲔ‪.‬‬

‫)‪ (2‬ﻣ‪‬ﺎﻋ‪‬ﻨ‪‬ﺪ‪‬ﻧﺎﺵ‪ =‬ﻟﻴ‪‬ﺲ‪ ‬ﻟﹶﻨ‪‬ﺎ‬
‫)‪ (3‬ﺑﻼﺻﺔ= ﻣﻜﺎﻥ‬
‫)‪ (4‬ﺃﹶﺭ‪‬ﺷ‪‬ﻘﹸﻮﻫ‪‬ﺎ = ﺃﻏﺮﹺﺳ‪‬ﻮﻫ‪‬ﺎ‬
‫)‪ (5‬ﺃﹸﻛﹸﻞﹾ= ﻛﺎﻣﻠﺔ‪ ،‬ﺃﻭ ﺑﺄﻛﻤﻠﻬﺎ‪.‬‬
‫)‪ (6‬ﻫ‪‬ﻮ‪‬ﺍﻟﻜﻢ= ﺣ‪‬ﻼﹶﻟﹶﻜﹸﻢ‪. ‬‬
‫‪- 157 -‬‬
‫) ‪(1‬‬
‫ﻭﳌﹼﺎ ﻋﺎﺩ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﰲ ﺍﳌﺴﺎﺀ ﻃﻠﺒﺖ ﻣﻨﻪ ﺃﻥ ﳛﻀﺮ ﳍﺎ ﻫﺬﺍ ﺍﻟﺘﻔﺎﺡ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ ،‬ﺃﹶﺗ‪‬ﺤ‪‬ﻮﺳﻲ‬
‫ﺗ‪‬ﻘﺘ‪‬ﻠﻲ ﺧ‪‬ﻮﻙ‪ ‬ﻟﻜﻨﻬﺎ ﺃﺻﺮ‪‬ﺕ ﻋﻠﻰ ﻃﻠﺒﻬﺎ‪ ،‬ﻓﺬﻫﺐ ﻭﺧﺎﻃﺮ ﲝﻴﺎﺗﻪ ﻹﺭﺿﺎﺋﻬﺎ ﻭﲢﺪﻯ ﻛﻞﹼ ﺍﻟﺼﻌﺎﺏ‬
‫ﻭﺃﺣﻀﺮ ﳍﺎ ﻫﺬﺍ ﺍﻟﺘﻔﺎﺡ ‪.‬‬
‫ﻭﰲ ﺍﻟﻐﺪ ﺃﺗﺖ ﺳﺘﻮﺕ ﻟﺘﺴﺘﻄﻠﻊ ﺍﻷﻣﺮ ﻓﻘﺎﻟﺖ ﳍﺎ ﻭ‪‬ﺭﹺﻳﻠﻲ)‪(2‬ﻫ‪‬ﺬﺍ ﺍﻟﺘ‪‬ﻔﹶﺎﺡ‪ ‬ﻧ‪‬ﺴ‪‬ﻤ‪‬ﻊ‪ ‬ﺑﹺﻴﻪ ﻭ‪‬ﻣ‪‬ﺎ‬
‫ﺷ‪‬ﻔﹾﺘ‪‬ﻮﺵ)‪ (3‬ﻓﺄﺩﺧﻠﺘﻬﺎ ﴰﺴﺔ ﻭﺍﻋﻄﻬﺎ ﻗﻠﻴﻼ ﻣﻨﻪ ﻏﲑ ﺃﻥ ﺍﻷﻣﺮ ﱂ ﻳﺮﻕ ﻟﺴﺘﻮﺕ ﻷﻥ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﱂ‬
‫ﳝﺖ‪ ،‬ﰒ ﻗﺎﻟﺖ ﳍﺎ ﺳﺘﻮﺕ‪ :‬ﺑ‪‬ﺼ‪‬ﺢ‪ (4) ‬ﺭ‪‬ﺍﻩ‪ ‬ﻳ‪‬ﺨ‪‬ﺼ‪‬ﻜﹸﻢ‪ ‬ﺣ‪‬ﻠ‪‬ﻴﺐ‪ ‬ﺍﻟﻠﱠﺒﺔ )‪(5‬ﰲ ﺟ‪‬ﻠﹶﺪ‪ ‬ﺍﻟﺸﺒﻞ ﻣ‪‬ﺮ‪‬ﺑ‪‬ﻮﻁﹾ ﺑﹺﺸﻼﹶﻏﹶﻢ‪‬‬
‫ﺍﻟﺼ‪‬ﻴﺪ‪ ،(6)‬ﻭﻋﻨﺪ ﻋﻮﺩﺓ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻣﺴﺎﺀً ﺃﺧﱪﺗﻪ ﺑﺄﻥ ﳛﻀﺮ ﳍﺎ ﻫﺬﺍ ﺍﳊﻠﻴﺐ‪ ،‬ﻭﺇﻻﹼ ﻓﺈ‪‬ﺎ ﻟﻦ ﺗﺮﺿﻰ‬
‫ﻋﻨﻪ ‪.‬‬
‫ﻓﺎﻧﻄﻠﻖ ﺃﺧﻮﻫﺎ ﺑﺎﺣﺜﺎ ﻋﻦ ﻫﺬﺍ ﺍﳊﻠﻴﺐ‪ ،‬ﻭﺫﻫﺐ ﺇﱃ ﺍﻟﻐﺎﺑﺔ ﻭﺑﺎﻟﻘﺮﺏ ﻣﻦ ﻣﻜﺎﻥ ﺍﻷﺳﺪ ﺫﺑﺢ‬
‫ﺷﺎﺓ‪ ،‬ﻭﻋﻨﺪ ﻗﺪﻭﻡ ﺍﻷﺳﺪ ﻣﻊ ﺍﻟﻠﺒﺔ ﻭﺷﺒﻠﻬﻤﺎ ﻭﺟﺪﻭﺍ ﺍﻟﺸﺎﺓ ﻣﺬﺑﻮﺣﺔ‪ ،‬ﻓﻘﺎﻣﻮﺍ ﺑﺄﻛﻠﻬﺎ ﻭﻋﻨﺪﻫﺎ ﻗﺎﻟﺖ‬
‫ﺍﻟﻠﺒﺔ‪ :‬ﺍﻟﻠﹼﻲ ﺩﺍﺭ‪ ‬ﻓ‪‬ﻴﻨ‪‬ﺎ ﻫ‪‬ﺬﹶﺍ ﺍﻟﹾﺨ‪‬ﲑ‪ ‬ﻳ‪‬ﻄﹾﻠﹸﺐ‪ ‬ﺣ‪‬ﻠﻴﱯ ﰲ ﺟ‪َ‬ﻠﹶﺪ‪ ‬ﺇﺑ‪‬ﻨﹺﻲ ﻧ‪‬ﻌ‪‬ﻄ‪‬ﻬ‪‬ﻮﻟﹶﻮﺍ ﻓﺘﻘﺪﻡ ﻣﻨﻬﺎ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﻭﻗﺎﻝ‪:‬‬
‫ﺟﻴﺖ‪ ‬ﻋ‪‬ﻠﹶﻰ ﺫﹶﺍﻙ ﺍﻟﺸﻲ‪ ،‬ﻓﺄﻋﻄﺘﻪ ﺍﻟﺸ‪‬ﺒﻞ ﻭﻗﺎﻟﺖ ‪ :‬ﺃﺫﺑ‪‬ﺤ‪‬ﻮ ﺑ‪‬ﻌ‪‬ﻴ‪‬ﺪ ﺑ‪‬ﺎﻩ‪ ‬ﻣ‪‬ﺎ ﻧ‪‬ﺴ‪‬ﻤ‪‬ﻌ‪‬ﺶ‪ ‬ﺻ‪‬ﻮ‪‬ﺗﻮﺍ ﻭﻻ ﺳ‪‬ﻤ‪‬ﻌ‪‬ﺘ‪‬ﻮﺍ‬
‫ﻧ‪‬ﺎﻛﹾﻠﹸﻚ‪ ،‬ﻓﺬﻫﺐ ﻭﺫﺑﺢ ﺍﻟﺸﺒﻞ ﺑﻌﻴﺪ‪‬ﺍ ﰒ ﺳﻠﺨﻪ ‪.‬‬
‫ﻭﻣﻸﻩ ﲝﻠﻴﺐ ﺍﻟﻠﹼﺒﺔ‪ ،‬ﰒ ﺃﺣﻀﺮﺕ ﻟﻪ ﺷﻌﺮﻩ ﻣﻦ ﺷﻮﺍﺭﺏ ﺍﻷﺳﺪ ﻓﺮﺑﻂ ‪‬ﺎ ﺍﳉﻠﺪ ﻭﻋﺎﺩ ﺇﱃ ﺃﺧﺘﻪ‬
‫ﻓﺮﺟﻌﺖ ﺳﺘﻮﺕ ﻭﻃﻠﺒﺖ ﻣﻨﻬﺎ ﺍﻟﻘﻠﻴﻞ ﻣﻦ ﻫﺬﺍ ﺍﳊﻠﻴﺐ‪ ،‬ﰒ ﺃﺧﱪ‪‬ﺎ ﻗﹶﺎﺋﻠﺔ‪ :‬ﻣ‪‬ﺎﺩ‪‬ﺍﻡ‪ ‬ﺟ‪‬ﺎﺏ‪ ‬ﻫ‪‬ﺬﹶﺍ‬
‫ﺍﻟﺸ‪‬ﻲﺀ ﻣ‪‬ﺎ ﻳ‪‬ﻨ‪‬ﻘﹾﺼ‪‬ﻮﺍ ﻏﻴ‪‬ﺮ ﻳ‪‬ﺠﹺﻴﺐ‪(7) ‬ﺟ‪‬ﺎﺯﹺﻳﺔﹾ ﱄ)‪ (8‬ﺗ‪‬ﺼ‪‬ﻮ‪‬ﻡ ﻋﺎﻡ‪ ‬ﻭ‪‬ﺗ‪‬ﻔﹾﻄﹶﺮ‪ ‬ﻋﺎﻡ‪. ‬‬
‫ﻓﺄﺧﱪﺕ ﴰﺴﺔ ﺃﺧﻮﻫﺎ ﲟﺎ ﻗﺎﻟﺘﻪ ﳍﺎ ﺳﺘﻮﺕ‪ ،‬ﻣﻊ ﺍﻟﻌﻠﻢ ﺃﻥ ﺟﺎﺯﻳﺔ ﱂ ﻳﺴﺘﻄﻊ ﺃﺣﺪ ﺃﻥ ﳜﺮﺟﻬﺎ‬
‫ﻣﻦ ﻗﺼﺮﻫﺎ‪.‬‬

‫)‪ (1‬ﺃﹶﺗ‪‬ﺤﻮﺳ‪‬ﻲ = ﺗ‪‬ﺮﹺﻳﺪ‪‬ﻳﻦ‪. ‬‬

‫)‪ (2‬ﻭ‪‬ﺭ‪‬ﻳﻠﻲ = ﺃﹶﺭﹺﻧ‪‬ﻲ‬
‫)‪ (3‬ﻟﹶﺮﺽ‪ = ‬ﺍﻷﺭﺽ‪.‬‬
‫)‪ (4‬ﺑ‪‬ﺼ‪‬ﺢ‪ = ‬ﻟﻜﻦ ‪.‬‬
‫)‪ (5‬ﺍﻟﻠﹶﺒﻪ = ﺍﻟﻠﺒﺆﺓ ‪.‬‬
‫)‪ (6‬ﺍﻟﺼ‪‬ﻴ‪‬ﺪ‪= ‬ﺍﻷﺳﺪ ‪.‬‬
‫)‪ (7‬ﻳ‪‬ﺠﹺﻴﺐ‪ = ‬ﻳ‪‬ﺤ‪‬ﻀ‪‬ﺮ‪.‬‬
‫)‪ (8‬ﻟ‪‬ﻲ = ﺍﻟﱵ ‪.‬‬
‫‪- 158 -‬‬
‫ﻓﻘﺎﻡ ﻏﻼﻡ ﺍﻟﻠﻴﻞ ﺑﺼﻨﻊ ﻋﺮﺑﻴﺔ ﻭﻣﻸﻫﺎ ﺑﺎﳊﻠﻲ ﻭﺍﳉﻮﺍﻫﺮ ﺍﻟﺜﻤﻴﻨﺔ‪ ،‬ﻭﳌﹼﺎ ﻭﺻﻞ ﺇﱃ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ‬
‫ﺗ‪‬ﻌﻴﺶ ﻓﻴﻪ‪ ،‬ﻭﺑﻌﺪ ﺃﻥ ﲣﹼﻄﻰ ﻛﻞﹼ ﺍﻟﺼﻌﻮﺑﺎﺕ‪ ،‬ﻭﻗﻒ ﺃﻣﺎﻡ ﺑﺎ‪‬ﺎ ﻓﺎﻗﺘﺮﺑﺖ ﻣﻨﻪ ﻭﺻﻴﻔﺎ‪‬ﺎ ﻟﺘﺤﻤﻠﻦ ﳍﺎ‬
‫ﺍﳉﻮﺍﻫﺮ ﻓﻘﺎﻝ ﳍﻦ ‪ :‬ﻭ‪‬ﺍﺵ‪ ‬ﺗ‪‬ﺪ‪‬ﻳ‪‬ﻮ)‪،(1‬ﻭ‪‬ﺍﺵ‪ ‬ﺗ‪‬ﺨﻠ‪‬ﻴ‪‬ﻮ‪،‬ﺗ‪‬ﺪ‪‬ﻭﻟﹾﻬ‪‬ﺎ ﻣ‪‬ﻴ‪‬ﺎ ﻭﻻﹼ ﻣ‪‬ﻴﺘﻴ‪‬ﻦ ﻫ‪‬ﺎﺗ‪‬ﻮﻫ‪‬ﺎ ﻟﻠﺸ‪‬ﺮﻳﻄﺔ)‪ (2‬ﻭﺗ‪‬ﺸ‪‬ﻮﻑ‬
‫ﻭﺗ‪‬ﺸ‪‬ﻮﻑ ﺑﻌﻴﻨﻴﻬ‪‬ﺎ‪.‬‬
‫ﺧﺮﺟﺖ ﺟﺎﺯﻳﺔ ﻭﺟﻠﺴﺖ ﰲ ﺍﻟﻌﺮﺑﺔ ﻻﻧﺘﻘﺎﺀ ﺍﳉﻮﺍﻫﺮ ﻭﻟﻜﺜﺮ‪‬ﺎ ﱂ ﺗﺸﻌﺮ ﺑﺄﻥ ﺍﻟﻌﺮﺑﺔ ﺗﺘﺤﺮﻙ‬
‫ﻭﺃﻥ ﺍﻟﻮﻗﺖ ﳝﺮ‪ ،‬ﺣﱴ ﻭﺟﺪﺕ ﻧﻔﺴﻬﺎ ﰲ ﻣﻜﺎﻥ ﱂ ﺗﻌﻬﺪﻩ ﻭﻋﻨﺪ ﻧﺰﻭﳍﺎ ﻗﺎﻟﺖ ﻟﻪ ‪:‬‬
‫ﺧ‪‬ﺪ‪‬ﻋ‪‬ﺘ‪‬ﻨﹺﻲ ﻳ‪‬ﺎﺑ‪‬ﻦ‪ ‬ﺍﻟﻨﺎﺱ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ ‪ :‬ﺧ‪‬ﺬﹾﻋ‪‬ﻮﻙ‪ ‬ﻟﹶﻌ‪‬ﺮﺏ‪. ‬‬
‫ﻭﺑﻌﺪﻫﺎ ﺗﺰﻭ‪‬ﺟﻬﺎ ﻭﻋﺎﺷﺖ ﻣﻌﻪ ﰲ ﺍﻟﻘﺼﺮ‪،‬ﻟﻜﻦ ﺳﺘﻮﺕ ﱂ ﺗﺴﺘﺴﻠﻢ ﻓﻘﺎﻟﺖ ﻟﻠﻤﻠﻚ‪ :‬ﻻﺯﻡ‬
‫ﻧﻌﺮﺿ‪‬ﻮﻫﻢ ﻟﻠﹶﻌ‪‬ﺸﺎ ﻓﻘﺎﻝ ﳍﺎ ﺍﳌﻠﻚ‪:‬ﺩﻳﺮﻭ ﺍﻟﱪﺑﻮﺷﺔ)‪(3‬ﻭﺃﻧﺎ ﳒﻴﺒﻠﻜﻢ ﺍﻟﻠﺤﻢ ﻓﻘﺎﻣﺖ ﺳﺘ‪‬ﻮﺕ ﺑﻔﺘﻞ‬
‫ﺍﻟﱪﺑﻮﺷﺔ ﺑﺎﻟﺴ‪‬ﻢ ﻭﺩﻋﺖ ﻋﺎﺋﻠﺔ ﻏﻼﻡ ﺍﻟﻠﻴﻞ‪ ،‬ﻭﻋﻨﺪ ﺟﻠﻮﺳﻬﻢ ﺇﱃ ﺍﳌﺎﺋﺪﺓ ﻃﻠﺒﺖ ﺟﺎﺯﻳﺔ ﺃﻻ ﻳﺄﻛﻞ‬
‫ﺃﺣﺪ ﻣﻦ ﺍﻟﻄﻌﺎﻡ ﺣﱴ ﻳﺘﺬﻭﻗﻪ ﺍﻟﻘﻂ‪ ،‬ﻭﳌﹼﺎ ﺃﻛﻞ ﻣﻨﻪ ﻣﺎﺕ ﻋﻠﻰ ﺍﻟﻔﻮﺭ‪ ،‬ﻓﺄﻋﺮﺽ ﺍﳉﻤﻴﻊ ﻋﻦ ﺍﻷﻛﻞ‬
‫ﻭﻏﺎﺩﺭﻭﺍ ﺑﻴﺖ ﺍﻟﺴﻠﻄﺎﻥ ‪.‬‬
‫ﻭﳌﺎ ﻛﺎﻧﺖ ﺟﺎﺯﻳﺔ ‪‬ﻴﻢ ﺑﺎﻟﺮﺣﻴﻞ ﻃﻠﺒﺖ ﻣﻨﻬﻢ ﺃﻥ ﻳ‪‬ﻠﺒﻮﺍ ﺩﻋﻮ‪‬ﺎ ﻟﻠﻌﺸﺎﺀ ﰲ ﺍﻟﻐﺪ‪ ،‬ﻭﺃﻥ ﻳ‪‬ﺤﻀﺮﻭﺍ‬
‫ﻣﻌﻬﻢ ﻛﻞﹼ ﻣﻦ ﻫﺐ‪ ‬ﻭﺩﺏ ﰲ ﺍﻟﺒﻴﺖ‪ ،‬ﺇﻻﹼ ﺃﻧ‪‬ﻬﻢ ﻋﻨﺪﻣﺎ ﺟﺎﺀﻭﺍ ﰲ ﺍﻟﻐﺪ ﱂ ﻳ‪‬ﺤﻀﺮﻭﺍ ﻣﻌﻬﻢ ﺃﻡ ﺍﻷﻭﻻﺩ‬
‫ﺍﻟﱵ ﺗﻌﻴﺶ ﻣﻊ ﺍﳊﻴﻮﺍﻧﺎﺕ‪ ،‬ﻓﻘﺎﻟﺖ ﺟﺎﺯﻳﺔ‪ :‬ﻧ‪‬ﺴِﻴﺘ‪‬ﻮﺍ ﻭ‪ ‬ﺣﺪ‪‬ﺓﹶ‪ ،‬ﻓﺄﺳﺮﻋﺖ ﺳﺘ‪‬ﻮﺕ ﻟﺘﻨﻈﻴﻔﻬﺎ ﻭﺇﺣﻀﺎﺭﻫﺎ‪،‬‬
‫) ‪(4‬‬
‫ﻭﳌﹼﺎ ﻓﺮﻏﻮﺍ ﻣﻦ ﺍﻟﻌﺸﺎﺀ ﻃﻠﺐ ﺍﳌﻠﻚ ﻣﻦ ﺟﺎﺯﻳﺔ ﺃﻥ ﺗﻘﹼﺺ ﻋﻠﻴﻬﻢ ﺣﻜﺎﻳﺔ ﻗﺎﺋﻼ ﳍﺎ‪ :‬ﺧ‪‬ﺎﺭ‪‬ﻓ‪‬ﻨ‪‬ﻴﺎ ‪.‬‬
‫ﻓﻘﺎﻟﺖ ﻟﻪ‪:‬ﺧ‪‬ﺎﺭ‪‬ﻓﹾﻨ‪‬ﺎ ﺃﹶﻧ‪‬ﺖ‪ ‬ﻳﺎﺳﻴﺪﻱ ﺍﳌﹶﻠ‪‬ﻚ‪،‬ﻗﺎﻝ ﳍﺎ‪:‬ﺧ‪‬ﺎﺭ‪‬ﻓ‪‬ﻴﻨ‪‬ﺎ ﺃﻧﺖ‪ ‬ﻟ‪‬ﺘ‪‬ﻌ‪‬ﻠﹾﻤ‪‬ﻲ ﺑﹺﺎﻟﹾﻤ‪‬ﺎﺿ‪‬ﻲ ﻭ‪ ‬ﺍﳌﺴ‪‬ﺘ‪‬ﻘﹾﺒﻞﹾ‪،‬‬
‫ﻓﺄﺧﺬﺕ ﲢﻜﻲ‪:‬‬
‫ﺣ‪‬ﺎﺟﹺﺘ‪‬ﻚ‪ ‬ﻣ‪‬ﺎﺟﻴﺘ‪‬ﻚ‪ ‬ﻋ‪‬ﻠﻰ‪ ‬ﻭﺍﺣﺪ ﺍﻟﺴﻠﻄﺎﻥ ﺗﺰﻭﺝ ﺳ‪‬ﺒ‪‬ﻊ‪ ‬ﻧ‪‬ﺴ‪‬ﺎ )‪.....(5‬ﻭﺣﻜﺖ ﻟﻪ ﺍﻟﻘﺼﺔ ﻛﺎﻣﻠﺔ‬
‫ﻭﺑﻴﻨﻤﺎ ﻫﻲ ﲢﻜﻲ ﻃﻠﺒﺖ ﺳﺘ‪‬ﻮﺕ ﺍﳋﺮﻭﺝ‪ ،‬ﻓﺮﻓﻀﺖ ﺟﺎﺯﻳﺔ ﻃﻠﺒﻬﺎ ﺣﱴ ﺗﻨﺘﻬﻲ ﻣﻦ ﺣﻜﺎﻳﺘﻬﺎ‬

‫)‪ (1‬ﺗ‪‬ﺪ‪‬ﻳﻮ‪= ‬ﺗ‪‬ﺄﹾﺧ‪‬ﺬﻭ‪.‬‬

‫)‪ (2‬ﺍﻟﺸ‪‬ﺮﻳﻄﺔ =ﺍﻟﻌ‪‬ﺮ‪‬ﺑ‪‬ﺔ‪.‬‬
‫)‪ (3‬ﺍﻟﺒ‪‬ﺮ‪‬ﺑ‪‬ﻮﺷﺔ = ﺍﻟﻜﺴﻜﺴﻲ ‪.‬‬
‫)‪ (4‬ﺧﺎﺭﻓﻴﻨ‪‬ﺎ = ﻣﻦ ﺍﳋﺮﺍﻓﺔ ﺃﻱ ﺃﺣﻜﻲ ﻟﻨﺎ ﺧﺮﺍﻓﺔ ‪.‬‬
‫)‪ (5‬ﻧ‪‬ﺴ‪‬ﺎ = ﻧﹺﺴ‪‬ﺎﺀْ ‪.‬‬
‫‪- 159 -‬‬
‫) ‪(1‬‬
‫ﻭﻭﺍﺻﻠﺖ ﺍﻟﺴﺮﺩ ﺣﱴ ﺃﻭﻗﻔﻬﺎ ﺍﻟﺴﻠﻄﺎﻥ ﻗﺎﺋﻼ‪ :‬ﻫ‪‬ﺎﺫ‪‬ﻱ ﺭ‪‬ﺍﻫ‪‬ﺎ ﺗ‪‬ﺸ‪‬ﺒ‪‬ﻪ‪ ‬ﻟﹶﺤ‪‬ﻜﹶﺎﻳ‪‬ﱵ‪ .‬ﺃﹶﻧ‪‬ﺎ ﺃﹶﻟﹼﻠﻲ ﺻ‪‬ﺮﺍﻟ‪‬ﻲ‬
‫ﻫﻜﹾﺬﹶﺍ‬
‫ﻓﻘﺎﻟﺖ ﺟﺎﺯﻳﺔ‪ :‬ﺻ‪‬ﺢ‪ ‬ﻳ‪‬ﺎ ﺳﻴﺪﻱ ﺍﻟﺴ‪‬ﻠﹾﻄﹶﺎﻥﹾ ﻫ‪‬ﺬ‪‬ﻱ ﺣ‪‬ﻜﹶﺎﻳ‪‬ﺘﻚ ﻭ‪‬ﻫ‪‬ﺬﹸﻭﺍ ﺃﻭ‪‬ﻻﹶﺩ‪‬ﻙ‪، ‬ﻭ‪‬ﻫ‪‬ﺬﻱ ﺃﹸﻣ‪‬ﻬ‪‬ﻢ‪‬‬
‫ﻭ‪‬ﺳ‪‬ﺘ‪‬ﻮﺕ‪ ‬ﻭ‪‬ﻧ‪‬ﺴ‪‬ﺎﻙ‪(2) ‬ﻫ‪‬ﻮﻣ‪‬ﺎ ﺳ‪‬ﺒ‪‬ﺎﺏ‪(3)‬ﻓﺮﺍﻗﻜﻢ ﻓﻔﺮﺡ ﺍﻟﺴﻠﻄﺎﻥ ﻭﺃﻗﺎﻡ ﺍﻷﻋﺮﺍﺱ‪،‬ﻭﻋﺎﻗﺐ ﺳﺘ‪‬ﻮﺕ‬
‫ﻭﺍﻟﻨﺴﻮﺓ ﺃﺷﺪ‪ ‬ﻋﻘﺎﺏ‪.‬‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪ :‬ﻥ ﺍﻟﺰﻳﺘﻮﱐ‬

‫)‪ (1‬ﺻ‪‬ﺮ‪‬ﺍﱄ= ﺻ‪‬ﺎﺭ‪‬ﱄ‪ ،‬ﺣﺪﺙ ﱄ ‪.‬‬

‫)‪(2‬ﻧ‪‬ﺴ‪‬ﺎﻙ‪= ‬ﻧﹺﺴ‪‬ﺎﺀَﻙ‪‬‬
‫)‪ (3‬ﺳ‪‬ﺒ‪‬ﺎﺏ‪= ‬ﺳﺒﺐ ‪.‬‬
‫‪- 160 -‬‬
 ‫‪-2‬ﻭ‪‬ﺩ‪‬ﻋ‪‬ﺔ ﺟ‪‬ﻨ‪‬ﺎﻳﺔ ﺳ‪‬ﺒﻌ‪‬ﺔ ‪:‬‬
‫ﻳ‪‬ﺤﻜﻰ ﺃﻧﻪ ﰲ ﻗﺪﱘ ﺍﻟﺰ‪‬ﻣﺎﻥ ﻛﺎﻧﺖ ﺃﻡ ﺗﻌﻴﺶ ﻣﻊ ﺯﻭﺟﻬﺎ‪ ،‬ﻭﺷﺎﺀﺕ ﺍﻷﻗﺪﺍﺭ ﺃﻥ ﺗﺮﺯﻕ ﺑﺴﺒﻌﺔ‬
‫ﺃﻭﻻﺩ ﺫﻛﻮﺭ‪ ،‬ﻭﳌﹼﺎ ﻛﱪ ﺍﻷﻭﻻﺩ ﻭﺻﺎﺭﻭﺍ ﺷﺒ‪‬ﺎﻧﺎ‪ ،‬ﲪﻠﺖ ﺃﻣ‪‬ﻬﻢ ﻣﻦ ﺟﺪﻳﺪ‪ ،‬ﻓﺄﺧﱪﻭﻫﺎ ﺑﻘﻮﳍﻢ‪:‬ﺭ‪‬ﺍﻧ‪‬ﺎ‬
‫) ‪(4‬‬
‫ﺭ‪‬ﺍﻳ‪‬ﺤﻴ‪‬ﻦ ﺑ‪‬ﻌﻴ‪‬ﺪ ﻳ‪‬ﺎ ﺃﹶﻣ‪‬ﺎ ﻻﹶﺟ‪‬ﺎ)‪(1‬ﺍﳌﹶﺰ‪‬ﻳ‪‬ﻮﺩ‪(2) ‬ﻃﹾﻔﹸﻞﹾ ﻣ‪‬ﻨ‪‬ﻮ‪‬ﻟﱡﻮﺵ‪،(3)‬ﻭ‪‬ﻻﹶﺟ‪‬ﺎﺕ‪ ‬ﻃﹸﻔﹾﻠﹶﺔﹶ ﺃﻧ‪‬ﻮﻟﱡﻮﺍ‪.‬‬
‫ﻭﻗﺪ ﺃﺭﺳﻠﻮﺍ ﻣﻦ ﻳﺄﺗﻴﻬﻢ ﺑﺎﻷﺧﺒﺎﺭ‪ ،‬ﻭﻏﺎﺩﺭ ﺍﻟﺸﺒﺎﺏ ﻭﻣﺮ‪‬ﺕ ﺍﻷﻳﺎﻡ ﺇﱃ ﺃﻥ ﻭﺿﻌﺖ ﺍﻷﻡ‪ ‬ﲪﻠﻬﺎ‬
‫ﻭﻛﺎﻧﺖ ﺑﻨﺘﺎ ﻓﻔﺮﺣﺖ ﺍﻷﻡ‪ ‬ﻭﺃﺭﺳﻠﺖ ﺍﳋﱪ ﻣﻊ ﺍﳋﺎﺩﻣﺔ ﺇﱃ ﺃﻭﻻﺩﻫﺎ ﺣﱴ ﻳﻌﻮﺩﻭﺍ‪ ،‬ﻟﻜﻦ ﺍﳋﺎﺩﻣﺔ‬
‫ﺍﻟﺸﺮﻳﺮﺓ ﺃﺑﺖ ﺃﻥ ﺗﺒﻠﻐﻬﻢ ﺍﳊﻘﻴﻘﺔ ﺣﱴ ﻻ ﻳﻌﻮﺩ ﺍﻷﻭﻻﺩ ﺇﱃ ﻭﺍﻟﺪ‪‬ﻢ‪ ،‬ﻭﻛﱪﺕ ﺍﻟﺒﻨﺖ ﺍﻟﱵ ﺳ‪‬ﻤﺘﻬﺎ‬
‫ﺃﻣﻬﺎ ﻭﺩﻋﺔ‪ ،‬ﻭﻣﺮﺕ ﺍﻟﺴﻨﲔ ﻭﺃﺻﺒﺤﺖ ﺍﻟﺒﻨﺖ ﺷﺎﺑﺔ ﲨﻴﻠﺔ ﺟﺪ‪‬ﺍ‪ ،‬ﻭﻛﺎﻧﺖ ﻋﻨﺪﻣﺎ ﲣﺮﺝ ﻣﻦ ﺑﻴﺘﻬﺎ‬
‫ﺗﺴﻤﻊ ﺍﻟﻨﺎﺱ ﻳﻨﺎﺩﻭ‪‬ﺎ ﻭﺩﻋﺔ ﺟﻨ‪‬ﺎﻳﺔ )‪(5‬ﺳﺒﻌﺔ‪ ،‬ﻭﻛﺎﻧﺖ ﻛﻞﹼ ﻣﺮ‪‬ﺓ ﺗﺴﺄﻝ ﺃﻣ‪‬ﻬﺎ ﻋﻦ ﺍﻟﺴﺒﺐ ﻟﻜﻦ ﻻ‬
‫ﲣﱪﻫﺎ ﺑﺸﻲﺀ ‪.‬‬
‫ﻭﺫﺍﺕ ﻳﻮﻡ ﻛﺎﻧﺖ ﻗﺮﺏ ﺍﻟﻨ‪‬ﻬﺮ ﺗﻠﻌﺐ ﺑﺎﳌﺎﺀ ﻭﺗﻘﺬﻓﻪ ﺑﺮﺟﻠﻴﻬﺎ‪ ،‬ﺟﺎﺀﺕ ﺳﺘ‪‬ﻮﺕ ﺗﺮﻳﺪ ﺃﻥ ﺗﺘﺰﻭ‪‬ﺩ‬
‫ﺑﺎﳌﺎﺀ‪ ،‬ﻓﻄﻠﺒﺖ ﻣﻦ ﺍﻟﻔﺘﺎﺓ ﺃﻥ ﺗﺘﻮﻗﻒ ﻋﻦ ﺍﻟﻠﻌﺐ ﺣﺘ‪‬ﻰ ﻳﺘﺴﻨ‪‬ﻰ ﳍﺎ ﺍﳌﻞﺀ ﻓﺮﻓﻀﺖ ﺍﻟﻄﻔﻠﺔ ﺍﻟﻄﻠﺐ‪،‬‬
‫ﻓﻨﻬﺮ‪‬ﺎ ﺳﺘﻮﺕ ﻗﺎﺋﻠﺔ ‪ :‬ﺭ‪‬ﻳ‪‬ﺤ‪‬ﻲ ﻳ‪‬ﺎﻭ‪‬ﺩ‪‬ﻋ‪‬ﺔ ﺟ‪‬ﻨ‪‬ﺎﻳ‪‬ﺔﹾ ﺳ‪ْ‬ﺒﻌﺔ ﻓﺸﻌﺮﺕ ﻭﺩﻋﺔ ﺑﺎﳊﺰﻥ ﺍﻟﺸﺪﻳﺪ‪ ،‬ﻭﺫﻫﺒﺖ ﺇﱃ‬
‫ﺃﻣ‪‬ﻬﺎ ﻭﻗﺎﻟﺖ ﳍﺎ ‪ :‬ﻗﹸﻮﻟﻴﻠﻲ ﻳ‪‬ﺎ ﺃﻣ‪‬ﺎ ﻻﹶﻩ‪ ‬ﺭ‪‬ﺍﻫ‪‬ﻢ‪ ‬ﻳ‪‬ﻌ‪‬ﻴ‪‬ﻄﹸﻮﻟ‪‬ﻲ)‪ (6‬ﺑ‪‬ﻬ‪‬ﺬﹶﺍ ﻟﹶﺴ‪‬ﻢ‪ ‬ﻭ‪‬ﻻﹶﻣ‪‬ﺎ ﻗﹸﻠﻴﹺﺘﻠ‪‬ﻴﺶ‪ ‬ﺭ‪‬ﺍﻳ‪‬ﺤ‪‬ﺔ ﻧ‪‬ﺮ‪‬ﻭﺡ‪‬‬
‫) ‪(7‬‬
‫ﻭ‪‬ﺍﻧ‪‬ﺨ‪‬ﻠﹼﻴﻚ‪. ‬‬
‫ﻓﺨﺎﻓﺖ ﺍﻷﻡ ﺃﻥ ﺗﺘﺮﻛﻬﺎ ﺍﺑﻨﺘﻬﺎ ﺍﻟﻮﺣﻴﺪﺓ ﻭﺗﺮﺣﻞ ﻓﺄﺧﱪ‪‬ﺎ ﲝﻘﻴﻘﺔ ﺍﻷﻣﺮ ﻛﻤﺎ ﺃﺧﱪ‪‬ﺎ ﻋﻦ‬
‫ﺇﺧﻮ‪‬ﺎ ﺍﻟﺴﺒﻌﺔ ﻭﺳﺒﺐ ﺭﺣﻴﻠﻬﻢ‪ ،‬ﻓﻘﺮ‪‬ﺭﺕ ﻭﺩﻋﺔ ﺍﻟﺒﺤﺚ ﻋﻨﻬﻢ ﻭﺃﻥ ﺗﻌﻴﺪﻫﻢ ﺇﱃ ﺍﳌﻨﺰﻝ ﻟ‪‬ﻴ‪‬ﻠﹾﺘ‪‬ﻢ‪ ‬ﴰﻞ‬
‫ﺍﻷﺳﺮﺓ ‪.‬‬

‫)‪ (1‬ﻻﹶﺟ‪‬ﺎ = ﺇﺫﹶﺍ ﺟ‪‬ﺎ َﺀ‬

‫)‪ (2‬ﺍﳌﺰﻳﻮﺩ =ﺍﳌﹶﻮ‪‬ﻟﹸﻮﺩ‪. ‬‬
‫)‪ (3‬ﻣ‪‬ﻨ‪‬ﻮ‪‬ﻟﻮﺵ =ﻻ ﻧ‪‬ﻌ‪‬ﻮﺩ‪. ‬‬
‫)‪ (4‬ﺃﻧﻮﻟﻮﺍ =ﻧ‪‬ﻌ‪‬ﻮﺩ‪. ‬‬
‫)‪ (5‬ﺟﻨﺎﻳﺔ =ﻣ‪‬ﻔﺮ‪‬ﻗﹶﺔ ‪.‬‬
‫)‪ (6‬ﻳﻌﻴﻄﻮﱄ= ﻳ‪‬ﻨﺎﺩ‪‬ﻭﻧﲏ‪.‬‬
‫)‪ (7‬ﺃﳔﻠﻴﻚ= ﺃﺗﺮﻛﹸﻚ‪. ‬‬
‫‪- 161 -‬‬
‫ﻭﰲ ﺍﻟﻴﻮﻡ ﺍﳌﻮﺍﱄ ﺣﺰﻣﺖ ﻭﺩﻋﺔ ﺃﻣﺘﻌﺘﻬﺎ ﻭﺟﻬ‪‬ﺰﺕ ﻧﻔﺴﻬﺎ‪ ،‬ﻭﺃﺧﺬﺕ ﻣﻌﻬﺎ ﺑﻌﺾ ﺍﳋﺎﺩﻣﺎﺕ‬
‫ﻭﺳﺘ‪‬ﻮﺕ ﻛﻲ ﻳﺮﺍﻓﻘﻨﻬﺎ ﰲ ﺍﻟﻄﺮﻳﻖ‪.‬‬
‫ﻭﰲ ﺍﻟﻄﺮﻳﻖ ﻗﺮﺭﺕ ﺍﳋﺎﺩﻣﺎﺕ ﺍﻟﺸﺮﻳﺮﺍﺕ ﻭﰲ ﻣﻘﺪﻣﺘﻬﻢ ﺳﺘﻮﺕ ﺍﻹﺳﺘﻼﺀ ﻋﻠﻰ ﳑﺘﻠﻜﺎﺕ‬
‫) ‪(1‬‬
‫ﻳ‪‬ﺎﻭ‪‬ﺩ‪‬ﻋ‪‬ﺔ ﺃﹶﻫ‪‬ﺒ‪‬ﻄ‪‬ﻲ ﻳ‪‬ﺎﺟﻨ‪‬ﺎﻳ‪‬ﺔ ﺳ‪‬ﺒ‪‬ﻌ‪‬ﺔ‪،‬‬ ‫ﻭﺩﻋﺔ ﻓﺄﺭﻏﻤﻮﻫﺎ ﻋﻠﻰ ﺍﻟﻨﺰﻭﻝ ﻣﻦ ﺍﳊﺼﺎﻥ ﻭﻗﺎﻟﻮﺍ ﳍﺎ‪ :‬ﺃﹶﻫ‪‬ﺒ‪‬ﻄ‪‬ﻲ‬
‫ﺃﹶﻏﹶﺼ‪‬ﱯ ﺃﺫﺭﻛﹸﻚ‪ ‬ﻧ‪‬ﻮ‪‬ﺭ‪‬ﻭﻟﻚ‪ ‬ﻭ‪‬ﺷ‪‬ﻜﹸﻮﻥﹾ ﻟﹶﺨ‪‬ﺪ‪‬ﻳ‪‬ﻤﺎﺕ‪.‬‬
‫ﻭﺍﺳﺘﻮﻟﺖ ﺍﳋﺎﺩﻣﺎﺕ ﻋﻠﻰ ﻛﻞﹼ ﻣﺎ ﲤﻠﻜﻪ ﻭﺩﻋﺔ ﻣﻦ ﻣﻼﺑﺲ ﻭﺣﻠﻲ ﻭﺫﻟﻚ ﺑﺎﻟﻀﺮﺏ ﻭﺍﻟﺸﺘﻢ‪.‬‬
‫ﻭﺍﺣﺘﻠﺖ ﺳﺘﻮﺕ ﻣﻜﺎﻥ ﻭﺩﻋﺔ‪ ،‬ﻭﺍﺩﻋﺖ ﺃﻧ‪‬ﻬﺎ ﺃﺧﺖ ﺍﻟﺸﺒﺎﺏ ﺍﻟﺴﺒﻌﺔ ‪.‬‬
‫ﻭﳌﹼﺎ ﲝﺜﻮﺍ ﻋﻦ ﺇﺧﻮﺓ ﻭﺩﻋﺔ ﻭﻭﺟﺪﻭﻫﻢ‪ ،‬ﺍﺩ‪‬ﻋﺖ ﺳﺘﻮﺕ ﺃ‪‬ﺎ ﺃﺧﺘﻬﻢ ﻗﺎﺋﻠﺔ‪ :‬ﺃﹶﻧ‪‬ﺎﻳﺎ ﺃﺧﺘﻜﻢ ﻭ‪‬ﺩ‪‬ﻋﺔ‬
‫ﻫﺬﻱ ﻣ‪‬ﺪ‪‬ﺓ ﻭﺃﹶﻧ‪‬ﺎ ﳓﻮ‪‬ﺱ‪ ‬ﻋﻠﻴﻜﻢ ﻭ‪‬ﻫ‪‬ﺎﺫﻭﺍ ﻟﻮ‪‬ﺻ‪‬ﻴﻔﺎﺕ)‪ (2‬ﻧ‪‬ﺘ‪‬ﺎﻭ‪‬ﻋﻲ‪.‬‬
‫ﻓﻔﺮﺡ ﺍﻟﺸﺒﺎﺏ ﺑﺄﺧﺘﻬﻢ ﺍﳌﺰﻳﻔﺔ‪ ،‬ﻭﻋﺎﺷﻮﺍ ﻣﻌﻬﺎ‪ ،‬ﻭﻛﺎﻧﺖ ﻭﺩﻋﺔ ﺃﺧﺘﻬﻢ ﺍﳊﻘﻴﻘﻴﺔ ﺗﺮﻋﻰ ﺍﻹﺑﻞ‪،‬‬
‫ﻭﻫﻲ ﺗﻠﺘﻒ ﺣﻮﳍﺎ ﻭ ﺗﻐﲏ ﳍﺎ ﺍﻷﻏﻨﻴﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﻐﻨﻴﻬﺎ ﻭﺍﻟﺪ‪‬ﺎ‪ ،‬ﻭﺍﻟﱵ ﻛﺎﻧﺖ ﺍﻹﺑﻞ ﲢﺒ‪‬ﻬﺎ‪ ،‬ﻓﻜﺎﻧﺖ‬
‫ﲢﺲ‪ ‬ﺑﻜﻞ ﻛﻠﻤﺔ ﺗﻘﻮﳍﺎ ﻭﺩﻋﺔ ﰲ ﺃﻏﻨﻴﻬﺎ‪ ،‬ﻋﺪ‪‬ﺍ ﲨﻼ ﻭﺍﺣﺪ‪‬ﺍ‪ ،‬ﻷﻧﻪ ﻛﺎﻥ ﺃﺻﻤ‪‬ﺎ‬
‫ﻭﻣﺮ‪‬ﺕ ﺍﻷﻳ‪‬ﺎﻡ ﻭﺍﻟﺸﻬﻮﺭ ﻭﻛﺎﻥ ﻗﻄﻴﻊ ﺍﻹﺑﻞ ﻳﺰﺩﺍﺩ ﳓﺎﻟﺔ ﻣﺎ ﻋﺪﺍ ﺫﻟﻚ ﺍﳉﻤﻞ ﺍﻟﺼﻢ ﻓﺮﺃﻯ‬
‫ﺍﻹﺧﻮﺓ ﺍﳊﺎﻝ ﺍﻟﺴﻴﺌﺔ ﺍﻟﱵ ﺃﺻﺒﺤﺖ ﻋﻠﻴﻬﺎ ﺍﳉﻤﺎﻝ ﻭﻗﺎﻝ ﺃﺣﺪ ﺍﻹﺧﻮﺓ ﻟﻮﺩﻋﺔ‪ :‬ﺃﲰﻌﻲ ﻳ‪‬ﺎﺧ‪‬ﺪ‪‬ﻳ‪‬ﻤﺔ ﻻﻩ‬
‫ﻣ‪‬ﺎﺭ‪‬ﺍﻛ‪‬ﻴﺶ‪ ‬ﺗ‪‬ﺪ‪‬ﻱ ﻓﹶﻠﹾﺒ‪‬ﻌ‪‬ﺮ‪‬ﺍﻥﹾ ﺗ‪‬ﺴ‪‬ﺮ‪‬ﺡ‪ ‬ﻭ‪‬ﻻﱠ ﻣ‪‬ﺎﻛ‪‬ﻴﺶ‪ ‬ﺗ‪‬ﺪ‪ّ‬ﻱ ﻓ‪‬ﻴﻬ‪‬ﻢ‪ ‬ﻟﻠﹶﺒ‪‬ﻼﹶﺻ‪‬ﺔ )‪.(3‬ﻟ‪‬ﻔ‪‬ﻴﻬ‪‬ﺎ ﺍﳌﺎﻛﹾﻠﹶﺔ ﻓﺄﺟﺎﺑﺘﻪ ﺑﻘﻮﳍﺎ‪:‬‬
‫ﺃﹶﻧ‪‬ﺎﺭﹺﺍﻧﹺﻲ ﻧ‪‬ﺪ‪‬ﻳﻬ‪‬ﻢ‪ ‬ﻟﹶﻠﹶﺒ‪‬ﻼﺻﺔ ﻟ‪‬ﻲ ﺧ‪‬ﻴ‪‬ﺮ‪‬ﻭﻫ‪‬ﺎ ﻫ‪‬ﻮﻣ‪‬ﺎ‪ ،‬ﻭﻣ‪‬ﺎﻫ‪‬ﻴﺶ‪ ‬ﹶﻟﺒ‪‬ﻼﹶﺻ‪‬ﺔﹶ ﻟ‪‬ﻲ ﻧ‪‬ﺨﻴ‪‬ﺮ‪‬ﻫ‪‬ﺎ ﺃﹶﻧ‪‬ﺎ‪ ،‬ﻭ‪‬ﺭ‪‬ﺍ ‪‬ﻫﻢ‪ ‬ﻗﺎﻟﻮ ﱄ ﻋ‪‬ﻠﹶﻰ‬
‫ﻟﺒ‪‬ﻼﹶﺻﺔ ﻟ‪‬ﻴ‪‬ﺮﻭﺣ‪‬ﻮﺍ ﻟ‪‬ﻴﻬ‪‬ﺎ ﻏﹸﺪ‪‬ﻭ‪‬ﺓ‪.‬‬
‫ﻭﻗﺒﻞ ﻃﻠﻮﻉ ﺍﻟﻔﺠﺮ ﺃﺳﺮﻉ ﺃﺧﻮﻫﺎ ﺍﻷﻛﱪ ﻭﺳﺒﻘﻬﺎ ﺇﱃ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺗﺮﻋﻰ ﻓﻴﻪ ﺍﻹﺑﻞ ﻭﺍﺧﺘﺒﺄ‬
‫ﺧﻠﻒ ﺍﳊﺠﺎﺭﺓ‪ ،‬ﻭﳌﹼﺎ ﻭﺻﻠﺖ ﻭﺩﻋﺔ ﺇﱃ ﺍﳌﻜﺎﻥ ﺍﶈﺪ‪‬ﺩ ﺭﻓﻘﺔ ﺍﻹﺑﻞ‪ ،‬ﺑﺪﺃﺕ ﺗﺮﻋﻰ ﰲ ﻣﻜﺎﻥ ﻗﺮﻳﺐ ﻣﻦ‬
‫ﺍﻹﺑﻞ ﻭﺃﺧﺬﺕ ﺗﻐﲏ‪ ‬ﳍﺎ‪ ،‬ﻓﺠﺎﺀﺕ ﺍﻹﺑﻞ ﻭﺍﺳﺘﻠﻘﺖ ﲜﺎﻧﺒﻬﺎ ﺗﺴﻤﻊ ﺍﻟﻐﻨﺎﺀ‪.‬‬
‫ﻭﰲ ﻫﺬﻩ ﺍﻟﻠﺤﻈﺔ ﺧﺮﺝ ﺃﺧﻮﻫﺎ ﺍﻷﻛﱪ ﻣﻦ ﺑﲔ ﺍﳊﺠﺎﺭﺓ‪ ،‬ﰒ ﻗﺎﻝ ﳍﺎ‪ :‬ﻋ‪‬ﻠﹶﻰ ﺑﹺﻴﻬ‪‬ﺎ ﺿ‪‬ﻌ‪‬ﺎﻓﹸﻮﺍ‬
‫ﻭ‪‬ﺻ‪‬ﺮ‪‬ﺍﻟﹾﻬ‪‬ﻢ‪ ‬ﻫ‪‬ﻜﹾﺬﹶﺍ ‪.‬‬

‫)‪(1‬ﺃﻫﺒﻄﻲ= ﺃﻧ‪‬ﺰﹺﱄ‪.‬‬
‫)‪ (2‬ﻟﻮ‪‬ﺻ‪‬ﻴﻔﺎﺕ= ﺍﳋﺎﺩﻣﺎﺕ‪.‬‬
‫)‪ (3‬ﻟﺒﻼﺻﺔ = ﺍﳌﻜﺎﻥ‪.‬‬
‫‪- 162 -‬‬
‫ﻭﺟﻠﺲ ﲜﺎﻧﺒﻬﺎ ﳛﺪ‪‬ﺛﻬﺎ ﻭﺑﻴﻨﻤﺎ ﻫﻲ ﺗﺘﺄﻣﻞ ﰲ ﻭﺟﻬﻪ ﺭﺃﺕ ﺍﻟﺒﻘﻌﺔ ﺍﻟﺒﻴﻀﺎﺀ ﺍﻟﱵ ﺣﺪﺛﺘﻬﺎ ﻋﻨﻬﺎ‬
‫ﻭﺍﻟﺪ‪‬ﺎ ﻓﺄﺟﻬﺸﺖ ﺑﺎﻟﺒﻜﺎﺀ‪.‬‬
‫ﻓﺴﺄﳍﺎ ﺃﺧﻮﻫﺎ ﻋﻦ ﺳﺒﺐ ﺑﻜﺎﺋﻬﺎ ﻗﺎﺋﻼ‪ :‬ﻭ‪‬ﺍﺷ‪‬ﺒﻴﻚ‪ (1)‬ﻳ‪‬ﺎ ﻃﹸﻔﹾﻠﹶﺔ ﺃﹶﻋ‪‬ﻼﺵ‪ (2) ‬ﺭﺍﻛﻲ ﺗ‪‬ﺒ‪‬ﻜﻲ ﻓﻘﺎﻟﺖ‬
‫ﻟﻪ‪ :‬ﺃﹶﻧ‪‬ﺎ ﺃﹸﺧ‪‬ﺘ‪‬ﻚ‪ ‬ﻭ‪‬ﺩ‪‬ﻋ‪‬ﺔ ﻭ‪‬ﺭ‪‬ﺍﻫ‪‬ﺎ ﺃﹶﻣ‪‬ﺎ ﻫ‪‬ﺪ‪‬ﺭ‪‬ﺗ‪‬ﻠﻲ )‪(3‬ﻋ‪‬ﻠ‪‬ﻴﻚ‪ ‬ﺑ‪‬ﺰ‪‬ﺍﻑ‪ ،‬ﻭ‪‬ﻋ‪‬ﻠﹶﻰ ﺍﻟﺒ‪‬ﻘﹾﻌ‪‬ﺔ ﻟﺒ‪‬ﻴ‪‬ﻀ‪‬ﺎ ﻟ‪‬ﻲ ﻓ‪‬ﻮ‪‬ﺟ‪‬ﻬ‪‬ﻚ‪،‬‬
‫ﻭ‪‬ﺳ‪‬ﺘ‪‬ﻮﺕ‪ ‬ﻫ‪‬ﻲ‪ ‬ﻟ‪‬ﻀ‪‬ﺮ‪‬ﺑ‪‬ﺘ‪‬ﻲ ﻭ‪‬ﺩ‪‬ﺍﺕ‪ (4)‬ﺑﻼﹶﺻ‪‬ﺘ‪‬ﻲ ﻭ‪‬ﺭ‪‬ﺍﻫ‪‬ﺎ ﺗ‪‬ﻜﹾﺬﹶﺏ‪ ‬ﻋ‪‬ﻠ‪‬ﻴﻜﹸﻢ‪.‬‬
‫ﻓﺎﺣﺘﺎﺭ ﺍﻷﺥ ﻣﻦ ﺃﻥ ﻳﺼﺪﻗﻬﺎ ﺃﻭ ﻳﻜﺬﹼ‪‬ﺎ‪ ،‬ﻓﺬﻫﺐ ﺇﱃ ﺍﳌﺪﺑ‪‬ﺮ ﻟﻴﺴﺘﺸﲑﻩ ﰲ ﺍﻷﻣﺮ ﻭﳛﻜﻲ ﻟﻪ‬
‫ﺍﳊﻜﺎﻳﺔ ﻭﳚﺪ ﻟﻪ ﺍﳊﻞ ‪.‬‬
‫ﻓﻘﺎﻝ ﻟﻪ ﺍﳌﺪﺑ‪‬ﺮ‪ :‬ﺃﹶﺷ‪‬ﺮﹺﻳ‪‬ﻠﻬ‪‬ﻢ‪ ‬ﺍﻟﻜﹶﺮ‪‬ﻃﹸﻮﺱ‪ (5) ‬ﻭ‪‬ﺧ‪‬ﻠ‪ّ‬ﻬ‪ ‬ﻢ ﻳ‪‬ﺎﻛﹾﻠﺜﻮﺍ ﻣ‪‬ﻌ‪‬ﺎﻙ‪ ‬ﻭ‪‬ﻟﹼﻲ ﺗ‪‬ﺎﻛﹸﻞﹾ ﺑﺎﻟﺸ‪‬ﻮﻳ‪‬ﻪ‪،‬ﻭ‪‬ﺗ‪‬ﺸﻮﻑ‬
‫ﺍﳊﺒ‪‬ﺔ ﻭ‪‬ﺗ‪‬ﻨ‪‬ﻘ‪‬ﻴﻬﺎ ﻫﻲ ﺃﹸﺧ‪‬ﺘ‪‬ﻚ‪ ‬ﻭ‪‬ﻟﹼﻲ ﺗ‪‬ﺎﻛﹸﻞﹾ ﺍﳊﺒ‪‬ﺔ ﻣ‪‬ﻦ‪ ‬ﻭ‪‬ﺭ‪‬ﻯ ﺧ‪‬ﺘ‪‬ﻬ‪‬ﺎ ﻣ‪‬ﺎﻫ‪‬ﺶ ﺃﺧ‪‬ﺘﻚ‪ ‬ﻓﻔﻌﻞ ﺍﻷﺥ ﺍﻷﻛﱪ ﻣﺎ‬
‫ﻃﹸﻠﺐ ﻣﻨﻪ ﻭﲨﻌﻬﻢ ﻋﻠﻰ ﻣﺎﺋﺪﺓ ﻭﺃﺧﺬ ﻳﺘﺄﻣﻞ ﻃﺮﻳﻘﺔ ﺃﻛﻠﻬﻢ‪ ،‬ﻓﺘﺒﻴ‪‬ﻦ ﻟﻪ ﺃﻥﹼ ﺍﻟﻔﺘﺎﺓ ﺍﻟﺮﺍﻋﻴﺔ ﻫﻲ ﺃﺧﺘﻪ‪،‬‬
‫ﻭﻟﻜﻦ ﻣﺎﺯﺍﻝ ﻳﺮﺍﻭﺩﻩ ﺑﻌﺾ ﺍﻟﺸﻚ‪ ،‬ﻓﺬﻫﺐ ﻣ‪‬ﺮﺓ ﺃﺧﺮﻯ ﺇﱃ ﺍﳌﺪﺑ‪‬ﺮ ﺍﻟﺬﻱ ﻗﺎﻝ ﻟﻪ‪ :‬ﻓﹶﺮ‪‬ﺷ‪‬ﻠﹾﻬ‪‬ﻢ‪ ‬ﻟﹶﻐ‪‬ﺼ‪‬ﺎﻥﹾ‬
‫ﻧ‪‬ﺘ‪‬ﺎﻉ‪ ‬ﻧ‪‬ﺨ‪‬ﻴﻞﹾ ﻭ‪‬ﻓﹶﺎﻟﺼ‪‬ﺒ‪‬ﺎﺡ‪ ‬ﺷ‪‬ﻮﻑ‪ ‬ﻻﹶﻟﹾﻘﻴ‪‬ﺖ ﻟﹶﻐ‪‬ﺼ‪‬ﺎﻥﹾ ﻣ‪‬ﺮ‪‬ﺗ‪‬ﺒﹺﲔ‪ ‬ﻭ‪‬ﻣ‪‬ﺎ ﻫ‪‬ﻮﻣ‪‬ﺶ ﻣ‪‬ﺒ‪‬ﻌ‪‬ﺜﹾﺮﹺﻳ‪‬ﻦ ﻫ‪‬ﺬﹶﺍﻙ‪ ‬ﻓﹾﺮ‪‬ﺍﺵ‪ ‬ﺃﹸﺧ‪‬ﺘ‪‬ﻚ‪ ‬ﻭ‪‬ﻻﹶ‬
‫ﻋ‪‬ﺎﺩ‪ ‬ﺍﻟﻌ‪‬ﻜﹶﺲ‪ ‬ﻣ‪‬ﺎﻫ‪‬ﻴﺶ ﺃﹸﺧ‪‬ﺘ‪‬ﻚ‪. ‬‬
‫ﻓﻔﻌﻞ ﺫﻟﻚ ﻭﰲ ﺍﻟﺼﺒﺎﺡ ﺗﺒﻴ‪‬ﻦ ﻟﻪ ﺃﻳﻀﺎ ﺃﻥﹼ ﺃﺧﺘﻪ ﺍﳊﻘﻴﻘﻴﺔ ﻫﻲ ﻭﺩﻋﺔ ﺍﻟﺮﺍﻋﻴﺔ‪ ،‬ﻓﻘﺎﻝ ﰲ ﻧﻔﺴﻪ‬
‫ﳚﺐ ﺃﻥ ﺃﺗﺄﻛﹼﺪ ﻟﻠﻤﺮ‪‬ﺓ ﺍﻷﺧﲑﺓ ‪.‬‬
‫ﻓﻘﺎﻝ ﻟﻪ ﺍﳌﺪﺑ‪‬ﺮ‪ :‬ﺷﻮﻑ ﺷﻌﻮﺭﻫﻢ ﻭﻟﹼﻲ ﺷﻌﺮﻫﺎ ﺭﻃﺐ ﻛﻲ ﻟﹶﺤ‪‬ﺮﻳﹺﺮ ﻭ‪‬ﻃﹾﻮﹺﻳ‪‬ﻞ ﺃﹶﻋ‪‬ﺮ‪‬ﻓﹾﻬ‪‬ﺎ ﺑ‪‬ﻠﹼﻲ ﺭ‪‬ﺍﻫ‪‬ﺎ‬
‫ﺃﹸﺧ‪‬ﺘ‪‬ﻚ‪ ‬ﻭ‪‬ﻟﹶﻲ ﺷ‪‬ﻌ‪‬ﺮ‪‬ﻫ‪‬ﺎ ﺧ‪‬ﺸ‪‬ﻴ‪‬ﻦ ﻭ‪‬ﺃﹶﺣ‪‬ﺮ‪‬ﺵ‪ ‬ﻭ‪‬ﺻ‪‬ﻐ‪‬ﲑ‪ ‬ﻣ‪‬ﺎﻫ‪‬ﻴ‪‬ﺶ ﺃﺧ‪‬ﺘ‪‬ﻚ‪‬‬

‫ﻓﻔﻌﻞ ﺫﻟﻚ ﻭﺻﺪﻕ ﺗﻮﻗﻌﻪ ﺑﺄﻥﹼ ﻭﺩﻋﺔ ﺍﻟﺮﺍﻋﻴﺔ ﻫﻲ ﺃﺧﺘﻪ ﺍﳊﻘﻴﻘﻴﺔ‪ ،‬ﻓﺄﻋﺎﺩﻭﻫﺎ ﺇﱃ ﻣﺎ ﻛﺎﻧﺖ‬
‫ﻋﻠﻴﻪ ﰲ ﺍﳌﺎﺿﻲ ﻭﻏﻤﺮﻭﻫﺎ ﺑﺎﳊﺐ ﻭﺍﳊﻨﺎﻥ‪،‬ﻭﻋﺎﻗﺒﻮﺍ ﺳﺘﻮﺕ ﻋﻠﻰ ﻓﻌﻠﺘﻬﺎ ﻭﺟﻌﻠﻮﻫﺎ ﺗﺮﻋﻰ ﺍﻹﺑﻞ‬
‫ﻣﻜﺎﻥ ﻭﺩﻋﺔ ﻭﺍﻟﻨﺴﻮﺓ ﺧﺎﺩﻣﺎﺕ ﻋﻠﻴﻬﺎ‪.‬‬

‫)‪ (1‬ﺻﺮﺍﳍﻢ= ﺣﺪﺙ ﳍﻢ‪.‬‬

‫)‪ (2‬ﻭﺍﺷﺒﻴﻚ = ﻣ‪‬ﺎﺑﹺﻚ‪.‬‬
‫)‪ (3‬ﻫﺪﺭﺗﻠﻲ= ﻗﺎﻟﺖ ﱄ‪ ،‬ﺣ‪‬ﻜﹶﺖ‪ ‬ﱄ‪.‬‬
‫)‪ (4‬ﺃﺩ‪‬ﺍﺕ =ﺃﺧﺬﺕ‪.‬‬
‫)‪ (5‬ﺍﻟﻜﹶﺮ‪‬ﻃﹸﻮﺱ‪= ‬ﺍﻟﺘﲔ‪.‬‬
‫‪- 163 -‬‬
‫ﻭﻣﺮ‪‬ﺕ ﺍﻷﻳ‪‬ﺎﻡ ﻭﻭﺩﻋﺔ ﺳﻌﻴﺪﺓ ﺑﲔ ﺇﺧﻮ‪‬ﺎ‪ ،‬ﻟﻜﻦ ﺳﺘﻮﺕ ﻭﺍﻟﻨﺴﻮﺓ ﺃﹶﺑ‪‬ﻮ‪‬ﻭﺍ ﺃﻥ ﻳﺴﺘﺴﻠﻤﻮﺍ ﻭﺃﺭﺍﺩﻭﺍ‬
‫ﺍﻹﻧﺘﻘﺎﻡ‪ ،‬ﻓﻘﺎﻟﺖ ﺍﻟﻨﺴﻮﺓ ﻟﺴﺘ‪‬ﻮﺕ ‪:‬ﺟﹺﻴﹺﺒﻴ‪‬ﻠﻨ‪‬ﺎ )‪ (1‬ﺑ‪‬ﻴ‪‬ﺾ‪ ‬ﻟﹾﻔﹶﺎﻋﻲ ﻧ‪‬ﺪ‪‬ﻳ‪‬ﺮﻭﻩ‪ ‬ﰲ ﻭ‪‬ﺳ‪‬ﻂﹾ ﺍﻟﻐ‪‬ﺮ‪‬ﺱ‪ (2) ‬ﻭﻧ‪‬ﻌ‪‬ﻄﹸﻮﻟﹾﻬ‪‬ﺎ‬
‫ﺗ‪‬ﺎﻛﹸﻞﹾ ﻣ‪‬ﻨ‪‬ﻮ ﺍ ﺑ‪‬ﻼﹶﻣ‪‬ﺎ ﺗ‪‬ﻔﹸﻮﻕ‪ ‬ﻭ‪‬ﺍﺵ‪ ‬ﻛﹶﺎﻳ‪‬ﻦ‪ ‬ﻓ‪‬ﻲ ﺩ‪‬ﺍﺧ‪‬ﻠﹸﻮﺍ‪.‬‬
‫ﻓﺄﺣﻀﺮﺕ ﺳﺘﻮﺕ ﻣﺎ ﻃﻠﺐ ﻣﻨﻬﺎ‪ ،‬ﻭﺑﺄﺳﻠﻮ‪‬ﻢ ﺍﳋﺒﻴﺖ ﻭﺍﳌﺮﺍﻭﻍ ﺟﻌﻠﻮﺍ ﺍﻟﻔﺘﺎﺓ ﺗﺄﻛﻞ ﺍﻟﻜﺮﻳﺎﺕ‬
‫ﺩﻭﻥ ﻣﻀﻎ ﻭﺩﻭﻥ ﺃﻥ ﺗﻌﺮﻑ ﻣﺼﲑﻫﺎ‪ ،‬ﻭﻣﺮ‪‬ﺕ ﺍﻷﻳﺎﻡ ﻭﺗﻔﻘﹼﺲ ﺑﻴﺾ ﺍﻷﻓﺎﻋﻲ ﻭﺑﺪﺃ ﺑﻄﻦ ﻭﺩﻋﺔ‬
‫ﻳﻨﺘﻔﺦ‪ ،‬ﻛﻤﺎ ﺃﺻﺒﺤﺖ ﻛﺜﲑﺓ ﺍﻟﺸﺮﺏ ﻭﺩﺍﺋﻤﺔ ﺍﻟﻌﻄﺶ‪ ،‬ﻓﺎﺣﺘﺎﺭ ﺍﻹﺧﻮﺓ ﻷﻣﺮ ﺃﺧﺘﻬﻢ‪ ،‬ﻭﺃﺧﱪ‪‬ﻢ‬
‫ﺳﺘﻮﺕ ﻭﺍﳋﺎﺩﻣﺎﺕ ﺃﻥ ﺃﺧﺘﻬﻢ ﺧﺮﺟﺖ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺼﻮﺍﺏ ﰲ ﻏﻴﺎ‪‬ﻢ‪ ،‬ﻭﻫﻲ ﺍﻵﻥ ﺣﺎﻣﻞ‪ ،‬ﻓﻐﻀﺐ‬
‫ﺍﻹﺧﻮﺓ ﻏﻀﺒﺎ ﺷﺪﻳﺪ‪‬ﺍ ﻭﻗﺮ‪‬ﺭﻭﺍ ﻣﻌﺎﻗﺒﺘﻬﺎ ﺑﻨﻔﻴﻬﺎ ﺑﻌﻴﺪ‪‬ﺍ ﻋﻦ ﺍﳌﻨﺰﻝ‪ ،‬ﺣﻴﺚ ﺃﺧﺬﻭﻫﺎ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﻋﲔ‬
‫ﻣﺎﺀٍ ﻭ ﺑ‪‬ﻨ‪‬ﻮﺍ ﻟﹶﻬ‪‬ﺎﻛﻮﺧ‪‬ﺎ ﺻﻐﲑ‪‬ﺍ‪ ،‬ﻭﺗﺮﻛﻮﺍ ﳍﺎ ﺑﻄﺎﻧﺔ ﻏﺮﺱ )‪ (3‬ﻭﻋﺎﺩﻭﺍ ﻣﻦ ﺣﻴﺚ ﺃﹶﺗ‪‬ﻮ‪‬ﻭ ‪.‬‬
‫ﻓﺒﻘﻴﺖ ﻭﺩﻋﺔ ﻫﻨﺎﻙ ﺗﺼﺎﺭﻉ ﺍﻷﱂ ‪ ،‬ﻭﺍﳉﻮﻉ ﺑﻌﺪ ﺃﻥ ﺍﻧﺘﻬﻰ ﺯﺍﺩﻫﺎ‪ ،‬ﻭﺫﺍﺕ ﻳﻮﻡ ﻣﺮ‪ ‬ﻓﺎﺭﺱ ﻋﻠﻰ‬
‫ﺟﻮﺍﺩﻩ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﺍﻟﻌﲔ‪ ،‬ﻓﺴﻤﻊ ﺍﻷﻧﲔ ﻭﺍﲡﻪ ﺇﱃ ﻣﺼﺪﺭﻩ‪ ،‬ﻭﻧﺎﺩﻯ ﺑﺼﻮﺕ ﻣﺮﺗﻔﻊ ﺃﻣﺎﻡ ﺑﺎﺏ‬
‫ﺍﻟﻜﻮﺥ‪ :‬ﺷ‪‬ﻜﹸﻮﻥﹾ ﻟ‪‬ﻲ ﺭ‪‬ﺍﻩ‪ (4)‬ﻫ‪‬ﻨ‪‬ﺎ ﺟ‪‬ﺎﻭ‪‬ﺑ‪‬ﻲ ﺇﹺﻧ‪‬ﺲ‪ ‬ﻭ‪‬ﻻﹾ ﺟ‪‬ﻦ‪. ‬‬
‫ﻓﺄﺟﺎﺑﺘﻪ ﺍﻟﻔﺘﺎﺓ ﻭﻫﻲ ﻣﻦ ﻭﺭﺍﺀ ﺣﺠﺎﺏ‪ :‬ﺇﹺﻧ‪‬ﺲ‪ ،‬ﹼﰒ ﺳﺄﻫﺎ ﻋﻦ ﺳﺒﺐ ﺍﻷﻧﲔ ﻓﺤﻜﺖ ﻟﻪ ﺍﻟﻘﺼﺔ‪،‬‬
‫) ‪(6‬‬
‫ﻭﻗﺎﻝ ﳍﺎ‪ :‬ﻭ‪‬ﻻﹶ ﺳ‪‬ﻠﱠﻜﹾﺘ‪‬ﻚ‪(5) ‬ﻣ‪‬ﻦ‪ ‬ﻫ‪‬ﺬ‪‬ﻱ ﺍﳌﹸﺼﻴﺒ‪‬ﺔ ﺗ‪‬ﻘﹶﺒ‪‬ﻠﻴﹺﲏ ﻧ‪‬ﻜﹸﻮﻥﹾ ﺭ‪‬ﺍﺟ‪‬ﻠﹶﻚ‪.‬‬
‫ﻓﻘﺒﻠﺖ ﻭﺩﻋﺔ ﺩﻭﻥ ﺗﺮﺩ‪‬ﺩ‪ ،‬ﻓﺬﺑﺢ ﳍﺎ ﻏﺰﺍﻻ ﻛﺎﻥ ﻗﺪ ﺍﺻﻄﺎﺩﻩ ﻓﻄﻬﺎﻩ ﻭﺟﻌﻠﻪ ﻛﺜﲑ ﺍﳌﻠﻮﺣﺔ ﰒ‬
‫ﺃﻃﻤﻌﻬﺎ ﺇﻳ‪‬ﺎﻩ‪ ،‬ﻓﺎﺷﺘﺪ ﺑﺎﻷﻓﺎﻋﻲ ﺍﻟﻌﻄﺶ ﰲ ﺑﻄﻨﻬﺎ ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﺟﻌﻞ ﻭﺩﻋﺔ ﺗﻄﻠﺐ ﺍﳌﺎﺀ ﻭﺑﺸﺪﺓ‬
‫ﻋﻨﺪﺋﺬ ﻭﺿﻌﻬﺎ ﺍﻟﻔﺎﺭﺱ ﻓﻮﻕ ﺣﺼﺎﻧﻪ ﻋﻠﻰ ﺑﻄﻨﻬﺎ ﻭﻭﺿﻊ ﺃﻣﺎﻡ ﺭﺃﺳﻬﺎ ﺣﻔﺮﺓ ﻭﻣﻸﻫﺎ ﺑﺎﳌﺎﺀ ﰒﹼ ﺃﺧﺬ‬
‫ﳛﺮ‪‬ﻙ ﺍﳌﺎﺀ ﺑﻴﺪﻩ ﻭﻳﻄﻠﺐ ﻣﻦ ﻭﺩﻋﺔ ﺃﻥ ﺗﻔﺘﺢ ﻓﻤﻬﺎ ﻓﺄﺧﺬﺕ ﺍﻟﺜﻌﺎﺑﲔ ﺗﺘﺤﺴ‪‬ﺲ ﺍﳌﺎﺀ ﻭﲣﺮﺝ ﺍﻟﻮﺍﺣﺪﺓ‬
‫ﺗﻠﻮ ﺍﻷﺧﺮﻯ ﻭﺍﻟﻔﺎﺭﺱ ﻳﻘﻄﻊ ﺭﺃﺳﻬﺎ ﺑﺴﻴﻔﻪ ﺣﱴ ﲣﻠﺺ ﻣﻨﻬﺎ ﻛﻠﻬﺎ ‪.‬‬
‫ﻋﺎﺷﺖ ﺑﻌﺪ ﺫﻟﻚ ﻭﺩﻋﺔ ﻣﻊ ﺍﻟﻔﺎﺭﺱ ﺍﻟﺼﻴﺎﺩ‪ ،‬ﻭﺃﳒﺒﺖ ﻣﻨﻪ ﻃﻔﻼ ﻭﻣﺮ‪‬ﺕ ﺍﻟﺴﻨﲔ ﻭﺫﺍﺕ ﻳﻮﻡ‬
‫ﺟﺎﺀ ﺃﺧﻮﻫﺎ ﺍﻷﻛﱪ ﻳﻄﻠﺐ ﺍﻟﺮﺯﻕ ﻭﻫﻮ ﻋﻠﻰ ﻫﻴﺌﺔ ﲢﺰﻥ ﺍﻟﻘﻠﺐ‪ ،‬ﻓﻌﺮﻓﺘﻪ ﻭﺩﻋﺔ ﺑﻴﻨﻤﺎ ﻫﻮ ﱂ ﻳﻌﺮﻓﻬﺎ‪،‬‬

‫)‪ (1‬ﺟﹺﻴﺒﺒﹺﻠﹾﻨ‪‬ﺎ=ﺃﹶﺣ‪‬ﻀ‪‬ﺮﹺﻱ ﻟﻨﺎ ‪.‬‬

‫)‪ (2‬ﺍﻟﻐ‪‬ﺮ‪‬ﺱ‪= ‬ﻣ‪‬ﻌ‪‬ﺠ‪‬ﻮﻥﹸ ﺍﻟﺘ‪‬ﻤ‪‬ﺮ ‪.‬‬
‫)‪ (3‬ﺑ‪‬ﻄﹶﺎﻧ‪‬ﺔ ﻏﹶﺮ‪‬ﺱ‪ =‬ﻛﻴﺲ ﻣﺘﻮﺳﻂ ﺍﳊﺠﻢ ﻳ‪‬ﺼ‪‬ﻨ‪‬ﻊ‪ ‬ﻣﻦ ﺟﻠﺪ ﺍﳌﺎﻋﺰ ﻭﺍﻟﻐﻨﻢ‪ ،‬ﻳ‪‬ﺤﺸﻰ ﲟﻌﺠﻮﻥ ﺍﻟﺘﻤﺮ ‪.‬‬
‫)‪(4‬ﺷﻜﹸﻮﻥﹾ ﻟ‪‬ﻲ ﺭﺍﻩ ﻫ‪‬ﻨﺎ =ﻣﻦ ﻫ‪‬ﻨﺎﻙ‪‬؟ ‪.‬‬
‫)‪ (5‬ﺳ‪‬ﻠﻜﹾﺘ‪‬ﻚ‪= ‬ﺧ‪‬ﻠﱠﺼ‪‬ﺘ‪‬ﻚ‪ ‬ﻣ‪‬ﻦ‪ ‬ﻣ‪‬ﺤ‪‬ﻨ‪‬ﺘ‪‬ﻚ‪.‬‬
‫)‪(6‬ﺭ‪‬ﺍﺟ‪‬ﻠﹶﻚ‪= ‬ﺯ‪‬ﻭ‪‬ﺟ‪‬ﻚ‪.‬‬
‫‪- 164 -‬‬
‫ﻓﻨﺎﻭﻟﺘﻪ ﺭﻏﻴﻔﺎ ﻭﻭﺿﻌﺖ ﰲ ﻭﺳﻄﻪ ﺍﻟﺬﻫﺐ ﻭﺍﻟﻔﻀﺔ ﻭﻗﺎﻟﺖ ﻟﻪ ‪:‬ﻫ‪‬ﺎﻙ‪ ‬ﺍﻟﻜﹶﺴ‪‬ﺮﺓ)‪ (1‬ﻫ‪‬ﺎﺫ‪‬ﻱ‪ ،‬ﻭ‪‬ﻛﹸﻮﻟﹾﻬ‪‬ﺎ‬
‫ﻭ‪‬ﺃﻧ‪‬ﺖ‪، ‬ﻣ‪‬ﻊ‪ ‬ﺍﻟﹾﺬﺭ‪‬ﺍﺭﹺﻱ)‪ (2‬ﻭ‪‬ﺃﹸﻣ‪‬ﻬ‪‬ﻢ‪. ‬‬
‫ﻓﻠﻤﺎ ﻋﺎﺩ ﺃﺧﻮﻫﺎ ﺇﱃ ﺍﻟﺒﻴﺖ ﻭﻋﻨﺪ ﺗﻘﺴﻴﻤﻪ ﺍﻟﺮﻏﻴﻒ ﺗﻔﺎﺟﺄ ﲟﺎ ﺭﺁﻩ ﻓﻘﺎﻝ‪ :‬ﻫﺎﺫﻱ ﻣﺎ ﺗﻜﻮﻥ ﻏﲑ‬
‫ﻭﺩﻋﺔ‪ ،‬ﰒ ﻗﺮ‪‬ﺭ ﺍﻟﻌﻮﺩﺓ ﺇﻟﻴﻬﺎ ﻋﻠﻰ ﺃﻥ ﻳﺒﻴﺖ ﻋﻨﺪﻫﺎ ﺍﻟﻠﻴﻠﺔ ﻭﳌﹼﺎ ﻭﺻﻞ ﺇﱃ ﺍﻟﺒﻴﺖ ﻗﺎﻝ ﳍﺎ‪ :‬ﺍﻟﹾﻴ‪‬ﻮﻡ‪ ‬ﺭ‪‬ﺍﻩ‪ ‬ﺭ‪‬ﺍﺡ‪‬‬
‫ﻋ‪‬ﻨﹺّﻲ ﻟﹾﺤ‪‬ﺎﻝﹾ )‪(3‬ﻣ‪‬ﺎ ﻋ‪‬ﻠ‪‬ﻴﻬ‪‬ﺶ‪(4) ‬ﻧﺒﺎﺕ‪ ‬ﻋ‪‬ﻨ‪‬ﺪ‪‬ﻛﹸﻢ‪‬؟ ‪.‬‬
‫ﻭﰲ ﺗﻠﻚ ﺍﻟﻠﻴﻠﺔ ‪ ،‬ﻭﺃﺛﻨﺎﺀ ﺟﻠﻮﺳﻪ ﻣﻊ ﺯﻭﺝ ﺃﺧﺘﻪ‪ ،‬ﲰﻌﻬﺎ ﺗﺪﺍﻋﺐ ﺍﺑﻨﻬﺎ ﻭﺗﻐﲏ‪ ‬ﻟﻪ ﻣﺮﺩ‪‬ﺩﺓ ‪:‬‬
‫ﺣ‪‬ﺐ‪ ‬ﺣ‪‬ﺐ‪ ‬ﺍﻟﺮ‪‬ﻣ‪‬ﺎﻥﹾ ﺧ‪‬ﻮﺍﻟﻮﺍ ﺳﺒ‪‬ﻌ‪‬ﺔ ‪,‬ﺣ‪‬ﺐ‪ ‬ﺣ‪‬ﺐ‪ ‬ﺍﻟﺮ‪‬ﻣ‪‬ﺎﻥﹾ ﺳ‪‬ﻴ‪‬ﻮﻓﹾﻬ‪‬ﻢ‪ ‬ﺳﺒ‪‬ﻌ‪‬ﺔ‪ ،‬ﺣ‪‬ﺐ‪ ‬ﺣ‪‬ﺐ‪ ‬ﺍﻟﺮ‪‬ﻣ‪‬ﺎﻥﹾ ﻛﻼﹶﺑ‪ ‬ﻬﻢ‪‬‬
‫ﺳ‪‬ﺒ‪‬ﻌ‪‬ﻪ‪ ،‬ﺣ‪‬ﺐ‪ ‬ﺣ‪‬ﺐ‪ ‬ﺍﻟﺮ‪‬ﻣ‪‬ﺎﻥﹾ ﻧ‪‬ﺴ‪‬ﺎﻫ‪‬ﻢ‪ ‬ﺳ‪‬ﺒ‪‬ﻌ‪‬ﺔ‪....‬ﻭﻫﻜﺬﺍ ﺩﻭﺍﻟﻴﻚ ‪.‬‬
‫ﻓﺘﺴﺎﺀﻝ ﺍﻟﺮﺟﻞ ﻋﻦ ﺳﺒﺐ ﺗﺮﺩﻳﺪﻫﺎ ﻟﻜﻠﻤﺔ ﺳﺒﻌﺔ‪ ،‬ﻓﺄﺧﱪﻩ ﺍﻟﺰﻭﺝ ﺑﺄﻥﹼ ﳍﺎ ﺳﺒﻌﺔ ﺇﺧﻮﺓ ﻭﺣﻜﻰ‬
‫ﻟﻪ ﻗﺼﺘﻬﺎ‪ ،‬ﻓﺎﻧﺪﻫﺶ ﺍﻟﺮ‪‬ﺟﻞ ﻣﻦ ﺃﻥﹼ ﺍﳌﺮﺃﺓ ﺍﻟﱵ ﳛﻜﻲ ﻋﻨﻬﺎ ﻫﻲ ﺃﺧﺘﻪ ﰒﹼ ﻗﺎﻝ ﻟﻪ‪ :‬ﻫ‪‬ﺎﺫ‪‬ﻱ ﻟﹶﻤ‪‬ﺮ‪‬ﺓ )‪(5‬ﻟ‪‬ﻲ‪‬‬
‫ﺭﺍﻙ‪ ‬ﺗ‪‬ﺤ‪‬ﻜ‪‬ﻲ ﻋ‪‬ﻠ‪‬ﻴ‪‬ﻬﺎ ﺗ‪‬ﻜﹸﻮﻥﹾ ﺃﺧﺘ‪ِ‬ﻲ ‪.‬‬
‫ﻓﻨﺎﺩﺍﻫﺎ ﺯﻭﺟﻬﺎ ﻭﻗﺎﻝ ﳍﺎ‪ :‬ﻫ‪‬ﺬﺍ ﺍﻟﺴ‪‬ﻴ‪‬ﺪ‪ ‬ﺭ‪‬ﺍﻩ‪ ‬ﻳ‪‬ﻘﹸﻮ‪‬ﻝ ﺑ‪‬ﻠﹼﻲ ﺭ‪‬ﺍﻛﻲ ﺍﺧ‪‬ﺘ‪‬ﻮﺍ ﻓﻘﺎﻟﺖ ﻟﻪ‪ :‬ﺇﹺﻳﻪ‪ (6)‬ﻫ‪‬ﺬﹶﺍ ﺧ‪‬ﻮﻳ‪‬ﺎ‬
‫ﺧ‪‬ﻮﻳ‪‬ﺎ ﻭ‪‬ﺍﻋ‪‬ﺮﻓﹾﺘ‪‬ﻮﺍ ﻣ‪‬ﻦ‪ ‬ﳌﹶﺮ‪‬ﺓ ﻟﹸﻮﻟﹶﻰ ﺃﹶﻟ‪‬ﻲ ﺟ‪‬ﺎﻧ‪‬ﺎ ﻓ‪‬ﻴﻬ‪‬ﺎ‪.‬‬
‫ﰒ ﺍﻟﺘﻘﻰ ﺍﻷﺥ ﺑﺄﺧﺘﻪ ﻭﺣﻜﺖ ﻟﻪ ﻗﺼ‪‬ﺘﻬﺎ ﻣﻊ ﺳﺘ‪‬ﻮﺕ ﻭﺯﻭﺟﺎ‪‬ﻢ ﻭﻣﺎ ﺃﳊﻘﻮﻩ ‪‬ﺎ ‪ ،‬ﻓﻌﺎﻗﺐ‬
‫ﺍﻟﻨﺴﻮﺓ ﻭﻃﺮﺩﻫﻢ ﻭﺃﳊﻖ ﺑﺴﺘ‪‬ﻮﺕ ﻋﻘﺎﺑﺎ ﺷﺪﻳﺪ‪‬ﺍ‪ ،‬ﻭﻋﺎﺷﻮﺍ ﺣﻴﺎﺓ ﺳﻌﻴﺪﺓ ‪.‬‬
‫ﻫﺬﺍ ﻣﺎ ﲰﻌﻨﺎ ﻭﻫﺬﺍ ﻣﺎ ﻗﻠﻨﺎ‪ ،‬ﻭﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ ﳏﻤﺪ )ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ(‪.‬‬
‫ﺍﻟﺮﺍﻭﻱ ‪ :‬ﺏ ﳏﻤﺪ‬

‫)‪ (1‬ﺍﻟﻜﹶﺴ‪‬ﺮ‪‬ﺓ =ﺍﳋﺒﺰ ﺍﻟﺬﻱ ﻳﺼﻨﻊ ﰲ ﺍﻟﺒﻴﺖ‬

‫)‪ (2‬ﺍﻟﺬﹾﺭ‪‬ﺍﺭﹺﻱ =ﺍﻷﺑﻨﺎﺀ‬
‫)‪ (3‬ﻟﹾﺤ‪‬ﺎﻝﹾ =ﺍﻟﻮﻗﺖ‪.‬‬
‫)‪ (4‬ﻣ‪‬ﺎ ﻋ‪‬ﻠ‪‬ﻴﻬ‪‬ﺶ‪= ‬ﺇﺫﺍ ﻛﺎﻥ ﳑﻜﻨﺎ ‪.‬‬
‫)‪ (5‬ﻟﹶﻤ‪‬ﺮ‪‬ﺓ =ﺍﳌﺮﺃﺓ‪.‬‬
‫)‪(6‬ﺇﹺﻳﻪ‪= ‬ﻧ‪‬ﻌ‪‬ﻢ‪. ‬‬
‫‪- 165 -‬‬
 ‫‪-3‬ﺍﻟﺬ‪ّ‬ﻳﺐ‪ ‬ﻭ‪‬ﺍﻟﻘﹶﻨ‪‬ﻔﹸﻮﺩ‪.(1) ‬‬
‫ﺣﺎﺟﺘﻚ ﻣﺎ ﺟﻴﺘﻚ‪ ،‬ﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﺍﻟﺘﻘﻰ ﺍﻟﺬﺋﺐ ﻭﺍﻟﻘﻨﻔﺪ ﺑﺒﻌﻀﻬﻤﺎ ﻭﺃﺧﺬﺍ ﻳﺘﺤـﺎﻭﺭﺍﻥ‪،‬‬
‫ﻓﻘﺎﻝ ﺍﻟﻘﻨﻔﺪ ﻟﻠﺬﺋﺐ‪ :‬ﻗﹶﺪ‪‬ﺍﻩ‪ ‬ﻋ‪‬ﻨ‪‬ﺪ‪‬ﻙ‪ (2) ‬ﻣ‪‬ﻦ‪ ‬ﺣ‪‬ﻴﻠﹶﺔ؟‪ ،‬ﻓﺄﺟﺎﺑﻪ ﺍﻟﺬﺋﺐ‪ :‬ﻋ‪‬ﻨ‪‬ﺪﻱ ﻣ‪‬ﻴ‪‬ﺎﺕ‪(3) ‬ﺣ‪‬ﻴﻠﹶﺔﹾ ﻭﺯﹺﻳـﺪ‪‬ﻟﹾﻬ‪‬ﻢ‪‬‬
‫ﻭ‪‬ﺣ‪‬ﺪ‪‬ﺓ‪ ،‬ﻭﻧﺖ ﻳﺎ ﺍﻟﻘﻨﻔﻮﺩ ﻗﺪﺍﻩ ﻋﻨﺪﻙ ﻣﻦ ﺣﻴﻠﺔ‪ ،‬ﻓﻘﺎﻝ ﺍﻟﻘﻨﻔﺪ‪ :‬ﻋﻨﺪﻱ ﺣﻴﻠﺔ ﻭﺍﺣﺪﺓ‪.‬‬
‫ﻋﻨﺪﺋﺬ ﺷﻌﺮ ﺍﻟﺬﺋﺐ ﺑﺎﻟﻐﺮﻭﺭ ﻭﺍﻟﻔﺮﺡ ﺑﺎﳊﻴﻞ ﺍﻟﻜﺜﲑﺓ ﺍﻟﱵ ﳝﺘﻜﻠﻬﺎ ﻭﺍﺳﺘﺼﻐﺮ ﺍﻟﻘﻨﻔﺪ ﺍﻟـﺬﻱ ﻻ‬
‫ﳝﻠﻚ ﻋﺪﺍ ﺣﻴﻠﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻓﻘﺎﻝ ﻟﻠﻘﻨﻔﺪ‪ :‬ﻳ‪‬ﺎﺑ‪‬ﻦ‪ ‬ﻟﹾﻜﹶﻠﹶﺐ‪ ،‬ﻣ‪‬ﺎﻋ‪‬ﻨ‪‬ﺪ‪ ‬ﻛﹶﺶ‪(4) ‬ﻏ‪‬ﻴ‪‬ﺮ ﺣ‪‬ﻴﻠﹶﺔ ﻭ‪‬ﺣ‪‬ﺪ‪‬ﺓ ﻭ‪‬ﺟ‪‬ﺎﻱ‪ ‬ﺍﺗﺒ‪‬ـ ‪‬ﻊ‬
‫ﻓ‪‬ﻴ‪‬ﺎ ﺃﹶﻧ‪‬ﺎ ﻟ‪‬ﻲ ﻋ‪‬ﻨ‪‬ﺪ‪‬ﻱ ﻟﹶﺨ‪‬ﺪ‪‬ﻉ‪ ‬ﻛﹶﺎﻣ‪‬ﻞﹾ؛ﺟﹺﻴ‪‬ﺐ ﺗ‪‬ﺮ‪‬ﺍﺣ‪‬ﻴﻠﹾﺘ‪‬ﻚ‪ ‬ﺃﹶﻟﹼﻲ ﺭ‪‬ﺍﻳ‪‬ﺤ‪‬ﺔ ﺗ‪‬ﺨ‪‬ﺮ‪‬ﺟ‪‬ﻚ‪ ‬ﻣ‪‬ﻦ‪ ‬ﻟﹾﺒﹺﲑ ﺿ‪‬ﺮ‪‬ﻙ‪ ، ‬ﰒ ﲪـﻞ‬
‫ﺍﻟﺬﺋﺐ ﺍﻟﻘﻨﻔﺪ ﺑﻴﺪﻩ ﻭﺭﻣﺎﻩ ﺩﺍﺧﻞ ﺍﻟﺒﺌﺮ‪.‬‬
‫ﳌﹼﺎ ﻭﺟﺪ ﺍﻟﻘﻨﻔﺬ ﻧﻔﺴﻪ ﰲ ﻗﻌﺮ ﺍﳉﺐ‪ ،‬ﺭﺍﺡ ﻳﺒﺤﺚ ﰲ ﺫﻫﻨﻪ ﻋﻦ ﺣﻴﻠﺘﻪ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ ﳝﺘﻜﻠﻬﺎ‪،‬‬
‫ﻟﻌﻠﹼﻬﺎ ﺗﻨﺠﺢ ﰲ ﺇﻧﻘﺎﺫﻩ ﻣﻦ ﳏﻨﺘﻪ ﺍﻟﺼﻌﺒﺔ ﺍﻟﱵ ﻭﺿﻌﻪ ﺍﻟﺬﺋﺐ ﻓﻴﻬﺎ‪.‬‬
‫ﻓﻜﹼﺮ ﻣﻠ‪‬ﻴ‪‬ﺎ ﰒ ﺃﺧﺬ ﻳﺼﺪﺭ ﺃﺻﻮﺍﺗﺎ ﻛﺜﲑﺓ ﻳﻘﻠﹼﺪ ﻓﻴﻬﺎ ﻧﺪﺍﺀﺍﺕ ﺍﻟﺒﺎﻋﺔ ﰲ ﺳﻮﻕ ﺍﳌﺎﺷﻴﺔ ﻭﺃﺻـﻮﺍﺕ‬
‫ﺍﻟﻐﻨﻢ ﻭﺍﳌﺎﻋﺰ ﻭﺍﻟﺒﻘﺮ ﻭﻫﻮ ﻳﻘﻮﻝ‪ :‬ﻗﹶﺪ‪‬ﺍﻩ‪ ‬ﻋ‪‬ﻄﹶﺎﻭ‪‬ﻙ‪(5)‬ﰲ ﻫ‪‬ﺬﻱ ﺍﻟﻨ‪‬ﻌ‪‬ﺠ‪‬ﺔ ؟‬
‫ﺃﹶﻋ‪‬ﻄﹶﺎﻭ‪‬ﻧﹺﻲ ﻛﹾﺬﹶﺍ ﻭ‪‬ﻛﹾﺬﹶﺍ؟ ﺑ‪‬ﺼ‪‬ﺢ‪ ‬ﺭ‪‬ﺍﻫ‪‬ﻲ)‪(6‬ﻗﹶﺎﻟﹾﻴ‪‬ﺔ )‪(7‬ﻧ‪‬ﻘﱠﺼ‪‬ﻠ‪‬ﻲ ﺷ‪‬ﻮﻳ‪‬ﺔ‪....‬ﺭ‪‬ﺭﺡ‪ ‬ﺭ‪‬ﺍﻫ‪‬ﻲ ﺣ‪‬ﻼﹶﻝﹾ ﻋ‪‬ﻠﻴـﻚ‪‬‬
‫ﺷ‪‬ﻮﻑ‪ ،‬ﺷ‪‬ﻮﻑ‪ (8) ‬ﻫ‪‬ﺬﹶﺍﻙ‪ ‬ﺟ‪‬ﺪ‪‬ﻱ ﻛ‪‬ﻲ ﺳ‪‬ﻤ‪‬ﲔ‪ ‬ﻳ‪‬ﻠﻴﹺﻖ‪ (9) ‬ﻳ‪‬ﺘ‪‬ﺬﹾﺑﺢ‪ ‬ﰒ ﻳ‪‬ﻘﹸﻮﻝ‪ :‬ﺃﹶﻫ‪‬ﺎﻩ‪ (10) ‬ﺃﹶﻫ‪‬ﺎﻩ‪ ‬ﺍﻟﻨ‪‬ﻌ‪‬ﺠ‪‬ـﺎﺕ‪‬‬
‫ﻫ‪‬ﺮ‪‬ﺑ‪‬ﻮﺍ ﺭ‪‬ﺟ‪‬ﻌ‪‬ﻬ‪‬ﻢ‪ ‬ﻣ‪‬ﻨ‪‬ﺎ‪ ،‬ﻭﻳﻀﺮﺏ ﻋﻠﻰ ﺍﻷﺭﺽ ﻋﺪﺓ ﻣﺮ‪‬ﺍﺕ ﻓﻴﺼﺪﺭ ﺻﻮﺗﺎ ﻭﻛﺄﻥ ﺷﺨﺼﺎ ﻣ‪‬ﺎ ﳚﺮﻱ‪.‬‬
‫ﺷﻐﻠﺖ ﻫﺬﻩ ﺍﻷﺻﻮﺍﺕ ﻭﺍﻟﻨ‪‬ﺪﺍﺀﺍﺕ ﺫﻫﻦ ﺍﻟﺬﺋﺐ‪ ،‬ﻭﺍﻗﺘﺮﺏ ﻣﻦ ﺍﳉﺐ‪ ‬ﺃﻛﺜﺮ ﻭﻣﺪ‪ ‬ﻋﻨﻘﻪ ﻳﻄـﻞ‬
‫) ‪(11‬‬
‫ﻋﻠﻰ ﻗﻌﺮﻩ‪ ،‬ﻓﻨﺎﺩﻯ ﺍﻟﻘﻨﻔﺪ‪ :‬ﻳ‪‬ﺎﺑ‪‬ﻦ‪ ‬ﻟﹾﻜﹶﻠﹶﺐ‪ ‬ﻗﹸﻮﻟ‪‬ﻲ ﻭ‪‬ﺍﺵ‪ ‬ﺭ‪‬ﺍﻩ‪ ‬ﻛﹶﺎﻳ‪‬ﻦ‪ ‬ﺛﹶﻤ‪‬ﺎ؟‪....‬‬

‫)‪ (1‬ﺍﻟﻘﹶﻨ‪‬ﻔﹸﻮﺩ‪ = ‬ﺍﻟﻘﹸﻨ‪‬ﻔﹸﺪ‪.‬‬

‫)‪ (2‬ﻗﺪﺍﻩ ﻋﻨﺪﻙ؟ = ﻛﻢ ﻋﻨﺪﻙ؟‬
‫)‪(3‬ﻣﻴﺎﺕ = ﻣﺌﺔ ‪.‬‬
‫)‪ (4‬ﻣﺎﻋﻨﺪﻛﺶ = ﻟﻴﺲ ﻟﻚ ‪.‬‬
‫)‪ (5‬ﻗﺪ‪ّ‬ﺍﻩ ﻋﻄﺎﻭ‪‬ﻟﻚ = ﻛﹶﻢ‪ ‬ﺃﹶﻋ‪‬ﻄﹶﻮ‪‬ﻙ‪. ‬‬
‫)‪ (6‬ﺑ‪‬ﺼ‪‬ﺢ‪ ‬ﺭﺍﻫﻲ = ﻟﻜﻨ‪‬ﻬﺎ ‪.‬‬
‫)‪ (7‬ﻗﺎﻟﻴﻪ = ﻏﹶﺎﻟﹶﻴﺔﹲ ‪.‬‬
‫)‪ (8‬ﺷﻮﻑ = ﺍﻧﻈﺮ ‪.‬‬
‫)‪ (9‬ﻳﹺﻠﻴﻖ‪ = ‬ﻳ‪‬ﺴ‪‬ﺘ‪‬ﺤ‪‬ﺴ‪‬ﻦ‪. ‬‬
‫)‪(10‬ﺃﹶﻫ‪‬ﺎﻩ = ﺍﺣ‪‬ﺬﺭ‪.‬‬
‫)‪(11‬ﻭ‪‬ﺍﺵ ﺭﺍﻩ ﻛﹶﺎﻳﻦ‪ ‬ﲦﹼﺎ= ﻣ‪‬ﺎﺫﹶﺍ ﻳ‪‬ﻮﺟ‪‬ﺪ‪ ‬ﻫ‪‬ﻨ‪‬ﺎﻙ‪ ‬؟‬
‫‪- 166 -‬‬
‫ﺃﺟﺎﺑﻪ ﺍﻟﻘﻨﻔﺪ‪ :‬ﻫ‪‬ﺬﹶﺍ ﺭ‪‬ﺍﻩ‪ ‬ﺳ‪‬ﻮﻕ‪ ‬ﻣ‪‬ﻌ‪‬ﻤ‪‬ﺮ‪ ‬ﻧ‪‬ﻌ‪‬ﺎﺝ‪ ‬ﻭ‪‬ﺧ‪‬ﺮ‪‬ﺍﻓﺎﻥﹾ ﻭ‪‬ﻛﹾﺒﺎﺵ‪ ‬ﻭ‪‬ﻣ‪‬ﺎﻋ‪‬ﺰ‪ ،‬ﻭ‪‬ﺍﻟﻨ‪‬ﺎﺱ‪ ‬ﺭ‪‬ﺍﻫ‪‬ـﻲ ﺗ‪‬ﺒﹺﻴـﻊ‪‬‬
‫) ‪(2‬‬
‫ﻭ‪‬ﺗ‪‬ﺸ‪‬ﺮﹺﻱ‪ ،‬ﺃﹶﻟﹾﺤ‪‬ﻖ‪ ‬ﺍﻟﺴﻮﻕ ﺭﺍﻩ ﻣ‪‬ﺪ‪‬ﻭ‪‬ﺩ‪(1) ‬ﻭ‪‬ﺍﺣ‪‬ﺪ ﻃﹶﺎﻟﹶﻊ‪ ‬ﻭ‪‬ﻵﺧ‪‬ﺮ‪ ‬ﻣ‪‬ﻬ‪‬ﻮ‪‬ﺩ‪.‬‬
‫ﻗﺎﻝ ﺍﻟﺬﺋﺐ ﰲ ﻧﻔﺴﻪ ‪ :‬ﻛﹸﻨ‪‬ﺖ‪ ‬ﻧ‪‬ﺤ‪‬ﻮﺳ‪‬ﻮﺍ)‪ (3‬ﻳ‪‬ﻤ‪‬ﻮﺕ‪ ‬ﻫ‪‬ﺎﻫ‪‬ﻮ)‪(4‬ﻟﹾﻘﹶﺎ ﺳ‪‬ﻮﻕ‪ ‬ﻣ‪‬ﻠﹾﻴ‪‬ﺎﻥﹾ)‪(5‬ﻣ‪‬ﺎﻋ‪‬ﺰ‪ ‬ﻭ‪‬ﻏﹾﻨ‪‬ﻢ‪ ‬ﺃﻧ‪‬ـﺎ‬
‫ﺃﻧ‪‬ﺎ ﺃﻭﱄ ﺑﻴﻪ‪ ،‬ﻋ‪‬ﻨ‪‬ﺪ‪‬ﻱ ﺃﹶﻛﺜﹶﺮ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺳ‪‬ﻤ‪‬ﺎﻧﻪ)‪(6‬ﻣ‪‬ﺎ ﺷ‪‬ﻤ‪ّ‬ﻴﹺﺘ‪‬ﺶ‪(7)‬ﻓ‪‬ﻴﻬﺎ ﺭﹺﻳ‪‬ﺤﺔ ﺍﻟﻠﱠﺤ‪‬ﻢ‪ ،‬ﻳ‪‬ﺎﺭﹺﻳ‪‬ﺘﲏ ﻛﹸﻨ‪‬ﺖ‪ ‬ﻣ‪‬ﻌ‪‬ﺎﻩ‪ ،‬ﺭ‪‬ﺍﻧﹺﻲ‬
‫ﺭ‪‬ﺍﻧﹺﻲ ﻛﹾﻠ‪‬ﻴﺖ‪(8)‬ﻧ‪‬ﺸ‪‬ﺒ‪‬ﻌ‪‬ﺖ‪ . ‬ﻧﺎﺩﻯ ﺍﻟﺬﺋﺐ ﻋﻠﻰ ﺍﻟﻘﻨﻔﺪ ﻗﺎﺋﻼ‪ :‬ﻳ‪‬ﺎ ﺻ‪‬ﺪﻳﻘﻲ ﻗﹸﻠﹼﻲ ﻛ‪‬ﻴﻔﹶﺎﻩ‪ ‬ﻧ‪ ‬ﹾﻠﺤ‪‬ﻘﹾﻚ؟‬
‫ﺃﺟﺎﺑﻪ ﺍﻟﻘﻨﻔﺬ‪ :‬ﺭ‪‬ﺍﻫ‪‬ﻮ ﻛﹶﺎﻳ‪‬ﻦ‪(9)‬ﻋ‪‬ﻼﹶﺣ‪‬ﺎﺷ‪‬ﻴﺔ ﺍﻟﺒﹺﲑ ﺣﺒﻞ ﺃﻟﺴﻖ ﻓﻴﻪ ﺿﺮﻙ ﻳﻬﺒﻂ ﺑﻴﻚ ﻋﻨﺪﻱ‪ ،‬ﺃﺯﺭﺏ ﻗﺒﻞ‬
‫ﻣﺎ ﻳﺘﻔﺮﻕ ﺍﻟﺴﻮﻕ ‪.‬‬
‫ﻣﻊ ﺍﻟﻌﻠﻢ ﺃﻥ ﺍﳊﺒﻞ ﻣﺮﺗﺒﻂ ﺑﺪﻟﻮ ﰲ ﺃﺳﻔﻞ ﺍﻟﺒﺌﺮ ﺇﺫﺍ ﺍﺭﺗﻔﻊ ﺍﻟﺪﻟﻮ ﺍﻷﻭﻝ ﻳﻨﺰﻝ ﺍﳊﺒﻞ‪ ،‬ﻭﺍﻟﻌﻜﺲ‬
‫ﺇﺫﺍ ﻧﺰﻝ ﺍﻟﺪﻟﻮ ﻳﺮﺗﻔﻊ ﺍﳊﺒﻞ ﺣﻴﺚ ﻳﺘﻢ‪ ‬ﺟﻠﺐ ﺍﳌﺎﺀ ‪‬ﻤﺎ ﻣﺪﺍﻭﻟﺔ‪.‬‬
‫ﲤﺴﻚ ﺍﻟﺬﺋﺐ ﺑﺎﳊﺒﻞ ‪ ،‬ﻭ ﻛﺎﻥ ﺍﻟﻘﻨﻔﺪ ﻗﺪ ﺃﺧﺬ ﻣﻜﺎﻧﻪ ﰲ ﺍﻟﺪﻟﻮ ﺍﻟﺴ‪‬ﻔﻠﻲ ﺩﻓﻊ ﺍﻟﺬﺋﺐ ﺑﻨﻔﺴـﻪ‬
‫ﺩﺍﺧﻞ ﺍﻟﺒﺌﺮ ﻓﺎﺭﺗﻔﻊ ﺩﻟﻮﺍ ﺍﻟﻘﻨﻔﺪ‪ ،‬ﻟﻴﺄﺧﺬﻩ ﺧﺎﺭﺝ ﺍﻟﺒﺌﺮ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﺗﻘﺎﻃﻊ ﺍﻟﺪﻟﻮﺍﻥ ‪ ،‬ﻗﺎﻝ ﺍﻟﺬﺋﺐ ﻟﻠﻘﻨﻔﺪ‬
‫ﰲ ﺍﻧﺪﻫﺎﺵ‪ :‬ﻻﹶﻩ‪ ‬ﺭ‪‬ﺍﻙ‪ ‬ﻃﹶﺎﻟﹶﻊ‪‬؟ ﺭﺩ‪ ‬ﻋﻠﻴﻪ ﺍﻟﻘﻨﻔﺪ ﻗﺎﺋﻼ‪ :‬ﻫ‪‬ﺎﺫﻱ ﻫ‪‬ﻲ ﺍﻟﺪ‪‬ﻧ‪‬ﻴ‪‬ﺎ ﻭ‪‬ﺍﺣ‪‬ﺪ‪ ‬ﻃﺎﻟﹶﻊ‪ ‬ﻭ‪‬ﻻﺧ‪‬ﺮ‪ ‬ﻫ‪‬ﺎﺑ‪‬ﻂﹾ ‪.‬‬
‫ﻭﺑﻌﺪ ﺃﻥ ﺧﺮﺝ ﺍﻟﻘﻨﻔﺪ ﻣﻦ ﺍﻟﺒﺌﺮ ﺃﻃﻞﹼ ﻋﻠﻰ ﻗﺎﻉ ﺍﻟﺒﺌﺮ ﻭﻗﺎﻝ ﳐﺎﻃﺒﺎ ﺍﻟﺬﺋﺐ‪ :‬ﻳ‪‬ﺎﺻ‪‬ﺎﺣ‪‬ﺒﹺﻲ ﻟﹶﻌ‪‬ﺰﹺﻳﺰﺃﻧﺎ‬
‫ﻋ‪‬ﻨ‪‬ﺪ‪‬ﻱ ﻏ‪‬ﲑ‪ ‬ﺣ‪‬ﻴﹺﻠﺔ ﻭ‪‬ﺣ‪‬ﺪ‪‬ﺓ ﰲ ﺣ‪‬ﻴﺎﰐ‪ ،‬ﻭ‪‬ﻫ‪‬ﺎﱐ ﻧ‪‬ﻌ‪‬ﺘ‪‬ﻬ‪‬ﺎ ﻟﹶﻚ‪،‬ﺟ‪‬ﺮ‪‬ﺏ‪ ‬ﺿ‪‬ﺮ‪‬ﻙ‪ ‬ﺣ‪‬ﻴ‪‬ﻠﺔﹶ ﻣﻦ‪ ‬ﻟﹶﻤ‪‬ﻴ‪‬ﺔ ﻭ‪‬ﻭ‪‬ﺍﺣ‪‬ـﺪ ﺃﹶﻟ‪ّ‬ـﻲ‬
‫ﻋ‪‬ﻨ‪‬ﺪ‪‬ﻙ‪ ‬ﻛﹸﺮ‪‬ﺍﻫ‪‬ﻲ)‪(10‬ﺗ‪‬ﺨ‪‬ﺮ‪‬ﺟﻚ‪ ‬ﻫ‪‬ﻴ‪‬ﺎ ﺃﹶﺑ‪‬ﻘﹶﻰ ﻋ‪‬ﻠﹶﻰ ﺧ‪‬ﲑ‪.‬‬

‫ﺍﻟﺮﺍﻭﻱ‪ :‬ﺏ ﻣﺒﺎﺭﻙ‬

‫)‪ (1‬ﻣﺪﻭﺩ= ﳑﺘﻠﺊ‪.‬‬

‫)‪ (2‬ﻣ‪‬ﻬ‪‬ﻮ‪‬ﺩ‪ = ‬ﻧﺎﺯﻝ‬
‫)‪ (3‬ﻧ‪‬ﺤﻮ‪‬ﺳ‪‬ﻮﺍ = ﺃﹸﺭﹺﻳ‪‬ﺪﻩ‪.‬‬
‫)‪ (4‬ﻫ‪‬ﺎﻫ‪‬ﻮ = ﻫ‪‬ﺎﻫ‪‬ﻮ‪. ‬‬
‫)‪ (5‬ﻟﹾﻘﺎ= ﻭ‪‬ﺟ‪‬ﺪ‪.‬‬
‫)‪ (6‬ﻣ‪‬ﻠﹾﻴ‪‬ﺎﻥ‪= ‬ﻣ‪‬ﻤ‪‬ﺘ‪‬ﻠ‪‬ﺊﹾ ‪.‬‬
‫)‪ (7‬ﺳ‪‬ﻤ‪‬ﺎﻧ‪‬ﺔ = ﺃﹸﺳ‪‬ﺒ‪‬ﻮﻉ‪. ‬‬
‫)‪ (8‬ﻣﺎﴰﻴﺘ‪‬ﺶ = ﱂ ﺃﺷﻢ‪. ‬‬
‫)‪ (9‬ﺭﺍﻫ‪‬ﻮ ﻛﹶﺎﻳ‪‬ﻦ‪ = ‬ﻳ‪‬ﻮﺟ‪‬ﺪ‪ ‬ﻫﻨﺎﻙ‪.‬‬
‫)‪ (10‬ﻛﹸﺮ‪‬ﺍﻫﻲ =ﻋ‪‬ﻠﱠﻬ‪‬ﺎ ‪.‬‬
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 ‫‪-4‬ﺟﺤ‪‬ﺎ ﻭ‪‬ﺻﺎﺣ‪‬ﺒ‪‬ﻮ ‪.‬‬
‫ﺣ‪‬ﺎﺟﹺﻴ‪‬ﻨ‪‬ﻚ‪ ‬ﻣ‪‬ﺎﺟﹺﻴﺘﻚ‪ ،‬ﺃﹶﻥﱠ ﺭ‪‬ﺟ‪‬ﻼﹰ ﻣﺸﻬﻮﺭ‪‬ﺍ ﺑﺬﻛﺎﺋﻪ ﻭﻓﻄﻨﺘﻪ ﻳ‪‬ﺪﻋﻰ ﺟﺤﺎ‪ ،‬ﻋﻘﺪ ﺭﻫﺎﻧﺎ ﻣﻊ ﺻﺪﻳﻖ‬
‫ﻟﻪ ﻓﹶﻘﺎﻝ ﻟﻪ‪ :‬ﺍﻟﻠ‪ّ‬ﻲ ﻳ‪‬ﺮ‪‬ﺑ‪‬ﺢ‪ ‬ﻓ‪‬ﻴﻨ‪‬ﺎ ﺭ‪‬ﺍﻳ‪‬ﺢ‪ ‬ﻳ‪‬ﻨ‪‬ﺤﻲ ﳊﻴﺔ ﻭ‪‬ﺷ‪‬ﻼﹶ ﹶﻏﻢ‪ ‬ﺻ‪‬ﺎﺣ‪‬ﺒ‪‬ﻮﺍ‪ ،‬ﻟﻜﻦ ﺟﺤﺎ ﺧﺴﺮ ﺍﻟﺮ‪‬ﻫﺎﻥ ﻓﻜﺎﻥ‬
‫ﻫﻮ ﻣﻦ ﺳﺘﻨﺰﻉ ﳊﻴﺘﻪ ﻭﺷﻮﺍﺭﺑﻪ‪ ،‬ﻭﻟﹼﻤﺎ ﻋﺎﺩ ﺇﱃ ﺍﳌﻨﺰﻝ ﻗﺎﻝ ﻟﺰﻭﺟﺘﻪ‪ :‬ﺃﹶﻧ‪‬ﺎ ﺟ‪‬ﺤ‪‬ﺎ ﻭ‪‬ﻻﱠ ﻣ‪‬ﺎﻧﹺﻴﺶ؟ )‪ (1‬ﻗﺎﻟﺖ‪:‬‬
‫ﺵ ﺩ‪‬ﺍﺭ‪ ‬ﻓ‪‬ﻴ‪‬ﺎ ﺻ‪‬ﺎﺣ‪‬ﺒﹺﻲ‪ ،‬ﻭﺣﻜﻰ ﳍﺎ ﺍﻟﻘﺼ‪‬ﺔ‪،‬ﰒ ﻗﺎﻝ‬ ‫ﻗﺎﻟﺖ‪ :‬ﺃﹶﻧ‪‬ﺖ‪ ‬ﺟ‪‬ﺤ‪‬ﺎ !‪ ،‬ﻗﺎﻝ ﳍﺎ‪ :‬ﺭ‪‬ﺍﻧﹺﻲ ﺭ‪‬ﺍﻳ‪‬ﺢ‪ ‬ﻧ‪‬ﺨ‪‬ﻠﹶﻒ‪ ‬ﻭ‪ ‬‬
‫ﳍﺎ‪ :‬ﺃﹶﻧ‪‬ﺎ ﻧ‪‬ﻌ‪‬ﺮ‪‬ﺿ‪‬ﻮﺍ )‪ (2‬ﻟﹶﻠﹶﻐ‪‬ﺪ‪‬ﺍ ﻭ‪‬ﺃﻧ‪‬ﺖ‪ ‬ﺃﹶﻣ‪‬ﻼﹶﻱ‪ ‬ﻫ‪‬ﺬﹶﺍ ﺍﻟﹾﻤ‪‬ﺼ‪‬ﺮ‪‬ﺍﻥﹾ ﺩ‪‬ﻡ‪ ،‬ﻭ‪‬ﺩﻳﺮﻳﻪ‪ (3) ‬ﻋ‪‬ﻠﹶﻰ ﺭ‪‬ﻗﺒ‪‬ﺘﻚ‪ ‬ﻭ‪‬ﻛ‪‬ﻲ ِﻳ‪‬ﺠﻲ‬
‫ﺻ‪‬ﺎﺣ‪‬ﺒﹺﻲ ﺃﹶﻧ‪‬ﻘﹸﻮﻟ‪‬ﻚ‪ ‬ﺟﹺﻴﱯ ﺍﻟﻐﺪﺍ ﻣ‪‬ﺎ ﺗ‪‬ﻨ‪‬ﻮﺿﻴﺶ‪،(4) ‬ﺃﹶﻧ‪‬ﺎ ﻧ‪‬ﺮ‪‬ﻭﺡ‪ ‬ﻧ‪‬ﺠﹺﻴﺐ‪ ‬ﻟﹾﻤ‪‬ﻮﺱ‪(5) ،‬ﻭ‪‬ﺍﻧ‪ ‬ﺪﻳ‪‬ﺮ ﺭ‪‬ﻭﺣ‪‬ﻲ ﺑ‪‬ﻠ‪ّ‬ﻲ‬
‫ﺫﹾﺑ‪‬ﺤ‪‬ﺘ‪‬ﻚ‪ ‬ﻭ‪‬ﻧ‪‬ﺬﹾﺑ‪‬ﺢ‪ ‬ﺍﳌﹸﺼﺮ‪‬ﺍﻥﹾ ﻭﻛﻲ ﻧﻀﺮﺑﻚ ﺑﺎﻟﻌﺼﺎ ﻧ‪‬ﻮﺿ‪‬ﻲ ﻭ‪‬ﺭ‪‬ﻭﺣ‪‬ﻲ )‪ (6‬ﺟﹺﻴﺒﹺﻲ ﻟﹶﻐ‪‬ﺪ‪‬ﺍ‪.‬‬
‫ﺫﻫﺐ ﺟﺤﺎ ﻭﺭﺟﻊ ﺑﺮﻓﻘﺔ ﺻﺪﻳﻘﻪ ﻭﻟﹼﻤﺎ ﺃﺟﻠﺴﻪ ﻗﺎﻡ ﺟﺤﺎ ﻭﺯﻭﺟﺘﻪ ﺑﺄﺩﺍﺀ ﺃﺩﻭﺍﺭﳘﺎ ﻋﻠﻰ ﺃﻛﻤﻞ‬
‫ﻭﺟﻪ‪.‬ﻓﻘﺎﻝ ﻟﻪ ﺻﺪﻳﻘﻪ‪ :‬ﻭ‪‬ﺃﹶﻧ‪‬ﺎ ﺛﹶﺎﻧﹺﻲ)‪(7‬ﺭ‪‬ﺍﻫ‪‬ﺎ ﻣ‪‬ﺮ‪‬ﺗ‪‬ﻲ)‪(8‬ﺭﺃﺳﻬﺎ ﺧ‪‬ﺸ‪‬ﲔ‪ ،(9) ‬ﺃﹶﻋ‪‬ﻄ‪‬ﻴﻠ‪‬ﻲ ﻫ‪‬ﺬﻱ ﻟﹶﻌ‪‬ﺼ‪‬ﺎ ﺍﻟﺴِّﺤ‪‬ﺮﹺﱠﻳﺔ‬
‫ﺍﻟﺴِّﺤ‪‬ﺮﹺﱠﻳﺔ ﺑ‪‬ﺎﻩ‪ ‬ﻧ‪‬ﺨ‪‬ﻠﹶﻊ‪ (10) ‬ﺑﻴ‪‬ﻬﺎ ﻟﹶﻤ‪‬ﺮ‪‬ﺍ‪ ،‬ﻓﹶﺄﹶﻋﻄﺎﻩ ﺟﺤﺎ ﺍﻟﻌﺼﺎ‪.‬‬
‫ﻭﻋﻨﺪ ﺫﻫﺎﺏ ﺍﻟﺮﺟﻞ ﺇﱃ ﺑﻴﺘﻪ ﻗﺎﻝ ﻟﺰﻭﺟﺘﻪ‪ :‬ﺟﹺﻴﺒﹺﻴﻠﹾﻨ‪‬ﺎ ﻟﹶﻌ‪‬ﺸ‪‬ﺎ‪ ،‬ﻓﹶﺄﺑ‪‬ﺖ‪ ‬ﺍﻟﺰ‪‬ﻭ‪‬ﺟ‪‬ﺔﹸ‪ ،‬ﻓﹶﺬﹶﺑ‪‬ﺤ‪‬ﻬﺎ ﰒ ﺃﺧﺬ ﻳﻀﺮ‪‬ﺎ‬
‫ﺑﺎﻟﻌﺼﺎ ﻭﱂ ﺗﻨﻬﺾ‪ ،‬ﻓﺘﻔﻄﹼﻦ ﺍﻟﺮﺟﻞ ﺑﺄﻥﹼ ﺟﺤﺎ ﻗﺪ ﺳﺨﺮ ﻣﻨﻪ ‪.‬‬
‫ﻭﰲ ﺍﻟﻐﺪ ﻗﺎﻝ ﺟﺤﺎ ﻟﺰﻭﺟﺘﻪ‪ :‬ﻧ‪‬ﺤ‪‬ﻔﹶﺮ‪ ‬ﻗﹾﺒ‪‬ﺮ‪ ‬ﻭ‪‬ﻧ‪‬ﺨ‪‬ﻠ‪ّ‬ﻲ ﻣ‪‬ﻨﹺﲔ‪ ‬ﻧ‪‬ﺨ‪‬ﺮ‪‬ﺝ‪ ‬ﻳ‪‬ﺪ‪ّ‬ﻱ ﻭ‪‬ﻛ‪‬ﻲ ﻳ‪‬ﺠﻲ ﺻ‪‬ﺎﺣ‪‬ﱯ ﻗﹸﻮﻟ‪‬ﻴﻠﹸﻮﺍ‬
‫ﻣ‪‬ﺎﺕ‪ ،‬ﻭ‪‬ﺍﻣ‪‬ﺒ‪‬ﻌ‪‬ﺪ‪ ‬ﺣ‪‬ﻤ‪ّ‬ﻴﻠ‪‬ﻲ ﺣ‪‬ﺪ‪‬ﻳ‪‬ﺪ ﻭ‪‬ﺍﻋ‪‬ﻄﻴ‪‬ﻬﻠ‪‬ﻲ ﻓ‪‬ﻲ ﻳ‪‬ﺪ‪‬ﻱ ﻭ‪‬ﻛ‪‬ﻲ ﻳ‪‬ﻘﻮ‪‬ﻟﹶﻚ‪ ‬ﻧﺪ‪‬ﺧ‪‬ﻞﹾ ﻧ‪‬ﺸ‪‬ﻮﻑ‪ ‬ﻗﹶﺒ‪‬ﺮ‪‬ﻭ ﺩ‪‬ﺧ‪‬ﻠ‪‬ﻴ‪‬ﻪ‬

‫)‪ (1‬ﻣ‪‬ﺎﻧﹺﻴﺶ =ﻟﹶﺴ‪‬ﺖ‪. ‬‬

‫)‪ (2‬ﻧ‪‬ﻌ‪‬ﺮﺿ‪‬ﻮ =ﺃﹶﻋ‪‬ﺰﻣ‪‬ﻪ‪ ‬ﻭ‪‬ﺃﹶﺩ‪‬ﻋ‪‬ﻮﻩ‪. ‬‬
‫)‪ (3‬ﺃﹶﻣ‪‬ﻼﹶﻱ‪= ‬ﺇﻣ‪‬ﻼﹶﻱ ‪.‬‬
‫)‪ (4‬ﻣﺎ ﺗﻨﻮﺿﻴﺶ‪ = ‬ﻻﹶﺗﻨﻬﻀﻲ‪.‬‬
‫)‪ (5‬ﻟﹾﻤﻮ‪‬ﺱ‪= ‬ﺍﻟﺴﻜﹼﲔ ‪.‬‬
‫)‪ (6‬ﺭ‪‬ﻭﺣﻲ =ﺍﺫﹾﻫ‪‬ﱯ ‪.‬‬
‫)‪ (7‬ﺃﻧﺎ ﺛﺎﱐ =ﺃﻧ‪‬ﺎ ﺃﻳﻀﺎ‪.‬‬
‫)‪(8‬ﻣ‪‬ﺮ‪‬ﺗ‪‬ﻲ = ﺯ‪‬ﻭﺟﱵ ‪.‬‬
‫)‪ (9‬ﺭ‪‬ﺃﺳ‪‬ﻬ‪‬ﺎ ﺧﺸﲔ =ﻋ‪‬ﺎﺻ‪‬ﻴﺔ ﻭ‪‬ﻏﹶﻴ‪‬ﺮ‪ ‬ﻣ‪‬ﻄ‪‬ﺒ‪‬ﻌﺔ ‪.‬‬
‫)‪ (10‬ﻧ‪‬ﺨ‪‬ﻠﹶﻊ‪= ‬ﺃﹸﺧ‪‬ﻖ‪. ‬‬
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‫ﺟﺎﺀ ﺻﺪﻳﻖ ﺟﺤﺎ ﻟﻜﻲ ﻳﻘﺘﻠﻪ ﻓﻘﺎﻟﺖ ﻟﻪ ﺍﻟﺰﻭﺟﺔ‪ :‬ﻣ‪‬ﺎﺕ ﺟ‪‬ﺤ‪‬ﺎ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻫﻴ‪‬ﺎ ﻧ‪‬ﺸ‪‬ﻮﻓﹸﻮﺍ ﻗﹶﺒ‪‬ﺮ‪‬ﻭ‬
‫ﻓﺄﺧﺬﺗﻪ ﺍﻟﺰﻭﺟﺔ ﺇﱃ ﺍﻟﻘﱪ ﻭﺃﺧﺬ ﺍﻟﺮ‪‬ﺟﻞ ﳛﻔﺮ ﰲ ﺍﻟﻘﱪ ﻭﺟﺤﺎ ﳛﺮﻗﻪ ﺑﺎﳊﺪﻳﺪ‪ ،‬ﻓﻘﺎﻝ ‪:‬ﻫ‪‬ﺬﹼﺍ ﺍﻟﺮ‪‬ﺍﺟ‪‬ﻞﹾ‬
‫ﻓﹶﺎﻟﺪ‪‬ﻧ‪‬ﻴ‪‬ﺎ ﻳ‪‬ﺤ‪‬ﺮ‪‬ﻕ‪ ،‬ﻭ‪‬ﻓﹾﻼﹶﺧ‪‬ﺮﺓ ﻳ‪‬ﺤ‪‬ﺮ‪‬ﻕ‪.‬‬
‫ﻭﻋﻨﺪﻣﺎ ﻭﺻﻞ ﺇﻟﻴﻪ ﻭﺿﻌﻪ ﰲ ﻛﻴﺲ ﻟﲑﻣﻴﻪ ﰲ ﺍﻟﺒﺤﺮ‪ ،‬ﻭﻫ‪‬ﻤﺎ ﰲ ﺍﻟﻄﺮﻳﻖ ﺇﱃ ﺍﻟﺒﺤﺮ ﻋﻄﺶ‬
‫ﺍﻟﺮﺟﻞ ﻓﺬﻫﺐ ﻟﻴﺸﺮﺏ ﻭﺗﺮﻙ ﺍﻟﻜﻴﺲ ﻓﻮﻕ ﺍﳊﻤﺎﺭ‪ ،‬ﲰﻊ ﺟﺤﺎ ﺭﺍﻋﻴﺎ ﺑﺎﻟﻘﺮﺏ ﻣﻨﻪ ﻓﺄﺧﺬ ﻳﺘﺄﱂ‬
‫ﺑﺼﻮﺕ ﻣﺮﺗﻔﻊ‪ ،‬ﻓﺎﻗﺘﺮﺏ ﻣﻨﻪ ﺍﻟﺮﺍﻋﻲ ﻭﻗﺎﻝ ﻟﻪ‪ :‬ﺟ‪‬ﻦ‪ ‬ﻭ‪‬ﻻﱠ ﺃﻧﺲ‪ ،‬ﻓﻘﺎﻝ ﻟﻪ ﺟﺤﺎ‪ :‬ﺃﻧﺲ ﻓﻘﺎﻝ ﺍﻟﺮﺍﻋﻲ‬
‫ﻭﻻﻩ ﺭﺍﻙ)‪ (1‬ﻓﹶﺎﻟﺸ‪‬ﻜﹶﺎﺭ‪‬ﺓ )‪(2‬؟ ﻓﺄﺟﺎﺑﻪ ﺟ‪‬ﺤ‪‬ﺎ‪ :‬ﺭ‪‬ﺍﻫ‪‬ﻢ‪ ‬ﻣ‪‬ﺪ‪‬ﻳﹺﻴﻨ‪‬ﻲ )‪ (3‬ﻟﹶﻠﹾﺤ‪‬ﺞ‪ ‬ﻭ‪‬ﻣ‪‬ﺎﻧﹺﻴ‪‬ﺶ ﺷ‪‬ﺎﺗ‪‬ﻲ)‪ (4‬ﺍﻧ‪‬ﺮ‪‬ﻭ‪‬ﺡ ‪.‬‬
‫‪.‬‬
‫ﻗﺎﻝ ﺍﻟﺮﺍﻋﻲ‪ :‬ﺧ‪‬ﻠ‪ّ‬ﻴﻨﹺﻲ )‪ (5‬ﺃﺭ‪‬ﻭ‪‬ﺡ‪ ‬ﻓ‪‬ﻲ ﺑ‪‬ﻼﹶﺻ‪‬ﺘ‪‬ﻚ‪ ،(6)‬ﻗﺎﻝ ﺟ‪‬ﺤﺎ‪ :‬ﺗﻔﹶﺎﻫ‪‬ﻤ‪‬ﻨ‪‬ﺎ ‪.‬‬
‫ﺩﺧﻞ ﺍﻟﺮﺍﻋﻲ ﰲ ﺍﻟﻜﻴﺲ ﻭﺃﺧﺬ ﺟﺤﺎ ﺍﻟﻨﻌﺎﺝ ﻭﻋﺎﺩ ﺇﱃ ﻗﺮﻳﺘﻪ‪ ،‬ﻭﺭﺟﻊ ﺻﺎﺣﺒﻪ ﺑﻌﺪ ﺃﻥ ﺭﻣﻰ‬
‫ﺍﻟﺮﺍﻋﻲ ﰲ ﺍﻟﺒﺤﺮ‪.‬‬
‫ﻭﰲ ﺍﻟﻐﺪ ﺧﺮﺝ ﺟﺤﺎ ﻟﲑﻋﻰ ﻓﺮﺁﻩ ﺻﺪﻳﻘﻪ ﻓﻘﺎﻝ ﻟﻪ ‪ :‬ﻳ‪‬ﺨ‪ّ‬ﻲ ﻟﹸﺤ‪‬ﺘ‪‬ﻚ‪(7) ‬ﻓﹾﻠﹶﺒ‪‬ﺤ‪‬ﺮ‪ ‬ﻓﻘﺎﻝ ﻟﻪ ﺟﺤﺎ ‪:‬‬
‫‪ :‬ﻛ‪‬ﻲ ﻟﹸﺤ‪‬ﺘ‪‬ﲏ‪ ‬ﻓﹾﻠﹶﺒ‪‬ﺤ‪‬ﺮ‪ ‬ﻟﹾﻘ‪‬ﻴﺖ‪ ‬ﻣ‪‬ﻠﹶﻚ‪ ‬ﻗﺎﻟ‪‬ﻲ ﺃﹸﻃﹾﻠﹶﺐ‪ ‬ﻭ‪‬ﺃﹶﻧﺎ ﻧ‪‬ﻠﹶﱯ‪ ،‬ﻃﹾﻠﹶﺒ‪‬ﺖ‪ ‬ﻣ‪‬ﻨ‪‬ﻮ ﻳ‪‬ﺨﺮ‪‬ﺟ‪‬ﻨﹺﻲ ﻣ‪ ‬ﻦ ﻟﹶﺒ‪‬ﺤﺮ‪ ‬ﻭ‪‬ﻳ‪‬ﻌ‪‬ﻄﻴﲏ‬
‫ﻫ‪‬ﺎﺫﹸﻭ ﺍﻟﻨ‪‬ﻌ‪‬ﺠ‪‬ﺎﺕ‪. ‬‬
‫ﻓﻘﺎﻝ ﻟﻪ ﺻﺎﺣﺒﻪ ﺃﹶﻣ‪‬ﺎﻟﹶﺔ ﺃﹶﺩ‪ّ‬ﻳﻨﹺﻲ ﻭ‪‬ﻟﹸﻮﺣ‪‬ﻨﹺﻲ ﻓﹾﻠﹶﺒ‪‬ﺤ‪‬ﺮ‪ ،‬ﻓﻮﺿﻌﻪ ﺟﺤﺎ ﰲ ﻛﻴﺲ ﰒﹼ ﺭﻣﺎﻩ ﰲ ﺍﻟﺒﺤﺮ‬
‫ﻭﲣﻠﺺ ﻣﻨﻪ ﺇﱃ ﺍﻷﺑﺪ‪.‬‬

‫ﻫﺬﺍ ﻣﺎ ﲰﻌﻨﺎ ﻭﻫﺬﺍ ﻣﺎ ﭬـﻠﻨ‪‬ﺎ‪ ،‬ﻭﺍﻟﺼﻼﺓ ﻭﺍﻟﺴﻼﻡ ﻋﻠﻰ ﺍﻟﻨﱯ ﳏﻤﺪ )‪(‬‬
‫ﺍﻟﺮﺍﻭﻱ‪ :‬ﻥ ﺍﻟﺰﹺّﻳﺘﻮﱐ‬

‫)‪ (1‬ﻻﹶﻩ‪ ‬ﺭ‪‬ﺍﻙ‪ = ‬ﻟﹶﻤﺎﺫﹶﺍ ﺃﹶﻧ‪‬ﺖ‪.‬‬

‫)‪ (2‬ﺍﻟﺸ‪‬ﻜﹶﺎﺭ‪‬ﺓ = ﻛﻴﺲ ﻛﺒﲑ‪.‬‬
‫)‪ (3‬ﻣ‪‬ﺪ‪‬ﻳﻴﻨﹺﻲ = ﻳﺄﺧﺬﻭﻧﲏ ‪.‬‬
‫)‪ (4‬ﻣﺎ ﻧﻴﺶ ﺷ‪‬ﺎﰐ = ﻟﺴﺖ ﺭﺍﻏﺒﺎ‪.‬‬
‫)‪(5‬ﺧ‪‬ﻠ‪ّ‬ﻴﲏ = ﺩ‪‬ﻋ‪‬ﻨﹺﻲ ‪.‬‬
‫)‪ (6‬ﺑﻼﺻﺘ‪‬ﻚ = ﻣ‪‬ﻜﹶﺎﻧ‪‬ﻚ‪.‬‬
‫)‪ (7‬ﻳ‪‬ﺨﻲ ﳊﺘ‪‬ﻚ‪ = ‬ﺃﻇﻨ‪‬ﲏ ﺭ‪‬ﻣ‪‬ﻴﺘ‪‬ﻚ‪.‬‬
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 ‫‪ -5‬ﺟ‪‬ﺎﺯ‪‬ﻳ‪‬ﺔ ﻭ‪‬ﺍﳋﺮﻓﺎﻥ‬
‫ﺣﺎﺟﻴﺘﻚ ﻣﺎ ﺟﻴﺘﻚ‪ ،‬ﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﺃﺭﺍﺩ ﺍﻟﺴﻠﻄﺎﻥ ﺍﻟﺰﻭﺍﺝ‪ ،‬ﻓﺄﺭﺳﻞ ﺭﺳﻮﻟﻪ ﻳﻌﻠﻦ ﰲ ﺍﻟﻨﺎﺱ‬
‫ﺭﻏﺒﺘﻪ ﰲ ﺫﻟﻚ‪ ،‬ﻋﻠﻰ ﺃﻥ ﲡﺘﻤﻊ ﻋﻨﺪﻩ ﺍﻟﻨﺴﻮﺓ ﺍﻟﻠﻮﺍﰐ ﻳﺮﻳﻦ ﰲ ﺃﻧﻔﺴﻬﻦ ﺃ‪‬ﻦ ﺃﻫـﻞ ﻟﻠـﺰﻭﺍﺝ ﺑـﻪ‬
‫ﻓﺘﻘﺪﻣﺖ ﻟﻠﻤﻠﻚ ﺳﺒﻌﺔ ﻧﺴﻮﺓ‪ ،‬ﻛﻞﹼ ﻭﺍﺣﺪﺓ ﻣﻨﻬﻦ ﺗﺘﻌﻬﺪﻩ ﺑﻌﻤﻞ ﺧﺎﺭﻕ‬
‫ﻓﻘﺎﻟﺖ ﺍﻷﻭﱃ ‪ :‬ﻟﹸﻮ ﻛﹶﺎﻥﹾ ﻧ‪‬ﺰ‪‬ﻭ‪‬ﺝ‪ ‬ﺑﹺﺎﻟﺴ‪‬ﻠﹾﻄﹶﺎﻥﹾ‪،‬ﻣ‪‬ﻦ‪ ‬ﺟ‪‬ﺰ‪‬ﺓ)‪ (1‬ﻧ‪‬ﺪ‪‬ﻳ‪‬ﺮ ﺑ‪‬ﺮ‪‬ﻧ‪‬ﻮﺱ‪‬‬
‫) ‪(2‬‬
‫ﻭﻗﺎﻟﺖ ﺍﻟﺜﺎﻧﻴﺔ ‪ :‬ﻣ‪‬ﻦ‪ ‬ﺣ‪‬ﺒ‪‬ﺔ ﻗﻤ‪‬ﺢ‪ ‬ﻧ‪‬ﺪﻳ‪‬ﺮ ﻣ‪‬ﻴﻌ‪‬ﺎﺩ‪‬‬
‫ﻭﻗﺎﻟﺖ ﺍﻷﺧﺮﻯ‪ :‬ﻣ‪‬ﻦ‪ ‬ﺍﻟﺸ‪‬ﻴﺢ ﻧ‪‬ﺪﻳ‪‬ﺮ ﺭ‪‬ﻛ‪‬ﻴﺰﺓ‬
‫) ‪(3‬‬
‫ﻭﺍﻷﺧﺮﻯ ﻗﺎﻟﺖ‪ :‬ﻣ‪‬ﻦ‪ ‬ﻣ‪‬ﻐ‪‬ﺰﻝﹾ ﻧ‪‬ﺪﻳ‪‬ﺮ ﺗ‪‬ﻠ‪ّ‬ﻴﺲ‪‬‬
‫ﻭﻫﻜﺬﺍ ﺣﱴ ﺍﳌﺮﺃﺓ ﺍﻟﺴﺎﺑﻌﺔ ﺍﻟﱵ ﻗﺎﻟﺖ‪ :‬ﻧ‪‬ﻬﺰ‪ ‬ﺍﳊﹶﻤ‪‬ﻞﹾ‪ ،‬ﻭ‪‬ﻧ‪‬ﺠﻴﺐ‪ ‬ﻃﹾﻔﹸﻞﹾ ﻭ‪‬ﻃﹸﻔﹾﻠﹶﺔ‬
‫ﻓﻘﺎﻡ ﺍﻟﺴﻠﻄﺎﻥ ﺑﺎﻟﺰﻭﺍﺝ ‪‬ﻦ‪ ، ‬ﻓﻠﻢ ﺗﺴﺘﻄﻊ ﺍﻷﻭﱃ ﺻﻨﻊ ﺍﻟﱪﻧﻮﺱ ﻣﻦ ﺟﺰﺓ ﻭﺍﺣﺪﺓ ﻭﳌﹼﺎ ﺳـﺄﳍﺎ‬
‫ﺍﻟﺴﻠﻄﺎﻥ ﻋﻦ ﺍﻟﱪﻧﻮﺱ ﺃﺟﺎﺑﺘﻪ ﻗﺎﺋﻠﺔ‪ :‬ﺟ‪‬ﺎﺑﹺﻴ‪‬ﺎﻉ‪ ‬ﻟﹶﻜﺤ‪‬ﻞﹾ )‪ ،(4‬ﺑ‪‬ﻌ‪‬ﺖ‪ ‬ﺍﳉﹶﺰ‪‬ﺓ ﻭ‪‬ﺷ‪‬ﺮﹺﻳﺖ‪ ‬ﻟﹶﻜﹸﺤ‪‬ـﻞﹾ ﻓﺠﻌﻠـﻬﺎ‬
‫ﺧﺎﺩﻣﺔ‪ ،‬ﺃﻣﺎ ﺍﻟﺜﺎﻧﻴﺔ ﻓﻠﻢ ﺗﻒ ﺑﻮﻋﺪﻫﺎ ﻫﻲ ﺍﻷﺧﺮﻯ ﻣﺪﻋﻴﺔ ﺃﻥ ﺍﻟﺪﻳﻚ ﻗﺪ ﺃﻛﻞ ﺣﺒﺔ ﺍﻟﻘﻤﺢ ﳌﹼﺎ ﳘﹼـﺖ‬
‫ﺑﻄﺤﻨﻬﺎ‪ ،‬ﻭﺍﻟﺜﺎﻟﺜﺔ ﳌﹼﺎ ﺳﺄﳍﺎ ﺍﻟﺴﻠﻄﺎﻥ ﻋﻦ ﺳﺒﺐ ﻋﺪﻡ ﻭﻓﺎﺋﻬﺎ ﺑﻌﻬﺪﻫﺎ ﻗﺎﻟﺖ‪ :‬ﻻﹶﻩ‪ ‬ﻛﹶﺸ‪‬ـﻤ‪‬ﺎ ﺷ‪‬ـﻔﹶﺖ‪‬‬
‫ﺭ‪‬ﻛ‪‬ﻴﺰ‪‬ﺓ ﺗ‪‬ﺘ‪‬ﺒ‪‬ﻨ‪‬ﻰ ﺑﺎﻟﺸﻴﺢ !‪ ،‬ﻭﻫﻜﺬﺍ ﻓﺸﻠﺖ ﻛﻞﹼ ﺍﻟﻨﺴﻮﺓ ‪,‬ﻏﲑ ﺃﻥ ﺍﳌﺮﺃﺓ ﺍﻟﺴﺎﺑﻌﺔ ﲪﻠﺖ ﻓﺨﺎﻓﺖ ﺑـﺎﻗﻲ‬
‫ﺍﻟﻨﺴﻮﺓ ﺃﹶﻥ ﻳﻔﻀﻠﻬﺎ ﻋﻠﻴﻬﻦ‪ ،‬ﻓﺬﻫﱭ ﻻﺳﺘﺸﺎﺭﺓ ﺳﺘ‪‬ﻮﺕ ﺍﻟﱵ ﻗﺎﻟﺖ ﳍﻦ‪ : ‬ﺃﹶﺭ‪‬ﺣ‪‬ﻠﹸﻮ ﻭ‪‬ﺃﺩ‪‬ﻭﺍ)‪ (5‬ﻣ‪‬ﻌ‪‬ـﺎﻛﹶﻢ‪‬‬
‫ﻛﹸﻠﱠﺶ‪ ،‬ﻭ‪‬ﺧ‪‬ﻠﱡﻮﻫ‪‬ﺎ ﻭ‪‬ﺣ‪‬ﺪ‪‬ﻫ‪‬ﺎ ﺗ‪‬ﻤ‪‬ﻮﺕ‪ ‬ﻛ‪‬ﻲ ﺗ‪‬ﻌ‪‬ﻮﺩ‪ ‬ﺗ‪‬ﺰ‪‬ﻳ‪‬ﺪ‪.(6) ‬‬

‫)‪ (1‬ﺟﺰﺓ = ﺻ‪‬ﻮﻑ‪ ‬ﺍﻟﺸﺎﺓ ِ ﺑ‪‬ﻌ‪‬ﺪ‪ ‬ﺗ‪‬ﺠ‪‬ﺮ‪‬ﻳﺪ ﻫ‪‬ﺎﻣ‪‬ﻨ‪‬ﻪ‪. ‬‬

‫)‪ (2‬ﻣﻴﻌ‪‬ﺎﺩ‪ = ‬ﻭﻟﻴﻤﺔ ‪.‬‬
‫)‪ (3‬ﺗ‪‬ﻠﻴﺲ‪ =‬ﻛﹶﻴ‪‬ﺲ‪ ‬ﻛ‪‬ﺒﲑ‪ ‬ﺍﳊﹶﺠ‪‬ﻢ ﺑ‪‬ﻨ‪‬ﺴ‪‬ﺞ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺷ‪‬ﻌ‪‬ﺮ ﺍﳌﹶﺎﻋ‪‬ﺰ ‪.‬‬
‫)‪ (4‬ﻟﹶﻜﹾﺤ‪‬ﻞﹾ = ﻣ‪‬ﺴ‪‬ﺤ‪‬ﻮﻕ‪ ‬ﺷﺪ‪‬ﻳﺪ‪ ‬ﺍﻟﺴ‪‬ﻮ‪‬ﺍﺩ‪ ‬ﻭﺍﻟﻨﻌﻮﻣ‪‬ﺔ‪ ‬ﻳ‪‬ﺴﺘ‪‬ﻌ‪‬ﻞﹸ ﺑﺘﺰ‪‬ﻳﲔ ﺍﻟﻌ‪‬ﻨ‪‬ﻴﻒ ‪.‬‬
‫)‪ (5‬ﺃﹶﺩ‪‬ﻭﺍ = ﺧ‪‬ﺬﹸﻭﺍ ‪.‬‬
‫)‪ (6‬ﺗﺰﻳ‪‬ﺪ = ﺗﻀﻊ ﻣﻮﻟﻮﺩﻫﺎ‬
‫‪- 170 -‬‬
‫ﰲ ﺍﻟﻴﻮﻡ ﺍﳌﻮﺍﱄ ﺍﻧﻄﻠﻖ ﺍﻟﺴﻠﻄﺎﻥ ﰲ ﺳﻔﺮ ﻟﻠﻘﻴﺎﻡ ﲟﻬﺎﻣﻪ ﻓﻔﻌﻠﺖ ﺍﻟﻨﺴﻮﺓ ﲟﺎ ﻃﺮﺣﺘـﻪ ﺳـﺘﻮﺕ‬
‫ﻋﻠﻴﻬﻦ ﻭﺑﻘﻴﺖ ﺟﺎﳛﺔ ﺑﻨﺖ ﺍﳉﹼﻴﺎﺡ ﻭﺣﺪﻫﺎ‪ ،‬ﻭﰲ ﻟﻴﻠﺔ ﺫﻟﻚ ﺍﻟﻴﻮﻡ ﺃﺣﺴﺖ ﺑﺄﻥﹼ ﻳﻮﻡ ﻭﻻﺩ‪‬ﺎ ﻗﺪ ﻗﺮﺏ‬
‫ﻭﻓﻌﻼ ﺑﺎﺗﺖ ﺗﺼﺎﺭﻉ ﺁﻻﻡ ﺍﻟﻮﻻﺩﺓ ﻭﺣﺪﻫﺎ ﺣﱴ ﻭﺿﻌﺖ ﲪﻠﻬﺎ‪،‬ﻭﻛﺎﻥ ﺑﻨﺘﺎ ﻭﻭﻟﺪ‪‬ﺍ‪ ،‬ﻓﺎﺷﺘﻤﺖ ﺍﻟﺬﺋﺎﺏ‬
‫ﺭﺍﺋﺤﺔ ﺍﻟﺪ‪‬ﻡ ‪ ،‬ﻭﺍﻗﺘﺮﺑﺖ ﻣﻦ ﺍﻟﺒﻴﺖ ﺑﻐﻴﺔ ﺃﻛﻞ ﺍﳌﻮﻟﻮﺩﻳﻦ ‪ ،‬ﻓﻠﻢ ﲡﺪ ﺍﻷﻡ ﻣﺎ ﺗﺮ‪‬ﺩ‪ ‬ﺑﻪ ﺍﳋﻄـﺮ ﺳـﻮﻯ‬
‫ﻗﺼﻴﺔ ﺍﳌﻨﺴﺞ‪ ،‬ﻭﺍﻟﱵ ﻛﺎﻧﺖ ﺑﺎﻟﻘﺮﺏ ﻣﻨﻬﺎ ﻭﻗﺪ ﻧﺴﻴﺘﻬﺎ ﺍﻟﻨﺴﻮﺓ‪ ،‬ﻭﺑﺪﺃﺕ ﺗﻀﺮﺏ ‪‬ﺎ ﺍﻟﺬﺋﺎﺏ ﺣـﱴ‬
‫ﻣﻄﻠﻊ ﺍﻟﻔﺠﺮ‪ ،‬ﺃﻳﻦ ﻋﺎﺩ ﺍﻟﺴﻠﻄﺎﻥ ﻣﻦ ﺳﻔﺮﻩ ﻫﻮ ﻭﺣﺮﺍﺳﻪ‪ ،‬ﻓﻀﺮﺏ ﺍﻟﺬﺋﺎﺏ ﻭﻓﺮﺡ ﺑﻮﻟﺪﻳﻪ ﻭﲰ‪‬ﺎﳘـﺎ‬
‫ﺩﻳﺎﺏ ﻭﺩﻳﺒﺔ ﻭﻋﺎﺵ ﺍﳉﻤﻴﻊ ﰲ ﺳﻌﺎﺩﺓ‪ ،‬ﻭﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﻃﻠﺐ ﺍﻟﺴﻠﻄﺎﻥ ﻣﻦ ﺯﻭﺟﺘﻪ ﺃﻥ ﲢﻀﺮ ﻟﻪ‬
‫ﺛﻼﺙ ﻛﻠﻤﺎﺕ ﻣﻦ ﻋﻨﺪ ﺃﻫﻠﻬﺎ ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻗﹸﻮﻟﻴﻠﻲ ﻭ‪‬ﺍﺵ‪ ‬ﻫ‪‬ﻮ )‪(1‬ﺃﹶﻟﱢﻲ ﻣ‪‬ﺎ ﺃﹶﺣ‪‬ﻠﹶﻰ ﻣ‪‬ﻨ‪‬ﻮﺍ؟‪ ،‬ﻭﻣﺎ ﻣﺮ ﻣﻨـﻮﺍ؟‬
‫ﻭ‪‬ﻣ‪‬ﺎ ﺃﹶﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﻨ‪‬ﻮﺍ؟‪ ،‬ﻓﹶﺨﺮ‪‬ﺟﺖ ﻗﺎﺻﺪﺓ ﺑﻴﺖ ﺃﻫﻠﻬﺎ ﻓﺎﻟﺘﻘﺖ ﺑﺎﺑﻨﻬﺎ ﺩﻳﺎﺏ ﻳﺮﻋﻰ ﺍﻟﻐﻨﻢ ﻓﻘﺎﻝ ﳍﺎ ‪ :‬ﻛـﻲ‬
‫ﺗ‪‬ﻌ‪‬ﻮﺩ‪‬ﻱ )‪ (2‬ﺭ‪‬ﺍﺟ‪‬ﻌ‪‬ﺔ ﻣ‪‬ﻦ‪ ‬ﻋ‪‬ﻨ‪‬ﺪ‪ ‬ﺧ‪‬ﻮ‪‬ﺍﻟ‪‬ﻲ ﺩ‪‬ﻫ‪‬ﻤ‪‬ﻲ)‪ (3‬ﻋ‪‬ﻠ‪‬ﻴ‪‬ﺎ‪.‬‬
‫ﻭﳌﹼﺎ ﻭﺻﻠﺖ ﺇﱃ ﺑﻴﺖ ﺃﻫﻠﻬﺎ‪ ،‬ﱂ ﺗﺸـﺄ ﺃﻥ ﺗﺄﻛـﻞ ﺃﻭ ﺗﺸـﺮﺏ‪ ،‬ﻓﺴـﺄﳍﺎ ﺇﺧﻮ‪‬ـﺎ ﻋـﻦ‬
‫ﺍﻟﺴﺒﺐ‪،‬ﻓﻘﺎﻟﺖ‪ :‬ﺣ‪‬ﺘ‪‬ﺎﻥﹾ )‪ (4‬ﺗ‪‬ﻠﹾﻘﹶﺎﻭ‪‬ﻟ‪‬ﻲ )‪ (5‬ﺍﻟﻜﹶﻠﻤ‪‬ﺎﺕ‪ ‬ﺍﻟﺜﻼﹶﺛﹶﺔ ﻓﻘﺎﻝ ﳍﺎ ﺇﺧﻮ‪‬ﺎ‪ :‬ﻫ‪‬ﺎﺫﻱ ﺣ‪‬ﺎﺟ‪‬ﺔ ﺳ‪‬ﺎﻫ‪‬ﻠﹶﺔ‪.‬ﺃﹶﻟ‪ّ‬ﻲ‬
‫ﺳ‪‬ﺎﻫ‪‬ﻠﹶﺔ‪.‬ﺃﹶﻟ‪ّ‬ﻲ ﻣﺎ ﺃﹶﺣ‪‬ﻠﹶﻰ ﻣ‪‬ﻨ‪‬ﻮﺍ ﻟﹶﻌ‪‬ﺴ‪‬ﻞﹾ ‪ ،‬ﻭ ﻣ‪‬ﺎ ﻣ‪‬ﺮ‪ ‬ﻣ‪‬ﻨ‪‬ﻮﺍ ﺍﻟﺪ‪‬ﻓﹾﻠﹶﻰ‪ ،‬ﻭ‪‬ﻟ‪ّ‬ﻰ ﻣ‪‬ﺎ ﺃﹶﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﻨ‪‬ﻮ ﻟﹶﺠ‪‬ﺒ‪‬ﻞﹾ ‪.‬‬
‫ﻭﰲ ﻃﺮﻳﻖ ﺍﻟﻌﻮﺩﺓ ﻣﺮ‪‬ﺕ ﺑﺎﺑﻨﻬﺎ ﺫﻳﺎﺏ ﻓﺴﺄﳍﺎ ﻋﻦ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺜﻼﺙ‪ ،‬ﻓﺄﺧﱪﺗﻪ ﲟﺎ ﻗﺎﻟﻪ ﺇﺧﻮﺍ‪‬ﺎ‪،‬‬
‫ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻋ‪‬ﻠﹶﻰ ﺑﹺﻴﻬ‪‬ﺎ ﻳ‪‬ﻘﹸﻮﻟﹸﻮﻟﹶﻚ‪ ‬ﺟﺎﻳ‪‬ﺤ‪‬ﺔ ﺑ‪‬ﻨ‪‬ﺖ‪ ‬ﺍﻟﹾﺠﹺﻴ‪‬ﺎﺡ‪ ،‬ﻭﺃﺧﱪﻫﺎ ﺑﺎﻟﻜﻠﻤﺎﺕ ﺍﻟﺜﻼﺙ‪.‬‬
‫ﻭﳌﹼﺎ ﻭﺻﻠﺖ ﺇﱃ ﺑﻴﺘﻬﺎ ﺳﺄﳍﺎ ﺍﻟﺴﻠﻄﺎﻥ ﻃﻠﺒﻪ ﻓﻘﺎﻟﺖ ﻟﻪ‪ :‬ﺃﹶﻟ‪ّ‬ﻲ ﻣ‪‬ﺎ ﺃﹶﻣ‪‬ﺮ‪ ‬ﻣ‪‬ﻨ‪‬ﻮﺍ ﺍﳌﻮﺕ‪ ،‬ﻭﻟ‪ّ‬ﻲ ﻣ‪‬ﺎ ﺃﹶﺣ‪‬ﻠﹶﻰ‬
‫ﻣ‪‬ﻨ‪‬ﻮﺍ ﺍﻟﻘﹸﺮ‪‬ﺁﻥ‪ ،‬ﻭ‪‬ﻟ‪ّ‬ﻲ ﻣ‪‬ﺎ ﺃﹶﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﻨ‪‬ﻮﺍ ﺭ‪‬ﺑ‪‬ﻲ ﺳ‪‬ﺒﺤﺎﻧ‪‬ﻮﺍ‬

‫)‪ (1‬ﻭ‪‬ﺍﺵ‪ ‬ﻫ‪‬ﻮ‪‬؟= ﻣ‪‬ﺎ ﻫ‪‬ﻮ‪‬؟‬

‫)‪ (2‬ﻛﻲ ﺗﻌﻮﺩﻱ = ﻟﹶﻤ‪‬ﺎ ﺗ‪‬ﻜﹸﻮﻧﹺﲔ‪. ‬‬
‫)‪ (3‬ﺩ‪‬ﻫ‪‬ﻤ‪‬ﻲ ﻋﻠﻴﺎ = ﻣ‪‬ﺮﹺّﻱ ﰊ ‪.‬‬
‫)‪ (4‬ﺣ‪‬ﺘ‪‬ﺎﻥﹾ = ﺇﻟﹶﻰ ﺃﹶﻥﹾ‪ ،‬ﺣ‪‬ﺘ‪‬ﻰ ‪.‬‬
‫)‪ (5‬ﺗ‪‬ﻠﹾﻘﹶﺎﻭ‪‬ﻟ‪‬ﻲ= ﺗ‪‬ﺠﹺﺪ‪‬ﻭﻥﹶ ﻟ‪‬ﻲ ‪.‬‬
‫‪- 171 -‬‬
‫ﻓﻘﺎﻝ ﳍﺎ ﺍﻟﺴﻠﻄﺎﻥ ‪ :‬ﻫ‪‬ﺎﺫ‪‬ﻱ ﺑﹺﻨ‪‬ﺖ‪ ‬ﻋ‪‬ﻀ‪‬ﺎﻳ‪‬ﺎ )‪(1‬ﻣ‪‬ﺎﻫ‪‬ﺶ‪ ‬ﺧ‪‬ﻔﹶﺎﻳ‪‬ﺎ )‪،(2‬ﻭﺳﺄﳍﺎ ﺇﻥ ﻛﺎﻧﺖ ﻗﺪ ﺍﻟﺘﻘـﺖ‬
‫ﺑﺪﻳﺎﺏ ﰲ ﺍﻟﻄﺮ‪‬ﻳﻖ‪ ،‬ﻓﺄﻧﻜﺮﺕ ﺫﻟﻚ‪ ،‬ﰒ ﺧﺮﺝ ﺍﻟﺴﻠﻄﺎﻥ ﻭﺃﻭﻛﻞ ﺇﱃ ﺍﻟﺒ‪‬ﺮﺍﺡ)‪ (3‬ﺃﻥ ﻳﻨﺎﺩﻱ ﰲ ﺍﻟﻨـﺎﺱ‬
‫ﻗﺎﺋﻼ‪ :‬ﺫﻳﺎﺏ ﻣ‪‬ﺎﺕ‪ ‬ﻭ‪‬ﺍﻟﺒ‪‬ﻞﹾ ﻏﹾﺪ‪‬ﺍﺕ‪.(4) ‬‬
‫ﻓﺨﺮﺟﺖ ﺟﺎﳛﺔ ﺑﻨﺖ ﺍﳉﻴ‪‬ﺎﺡ ﲤﺠ‪‬ﺪ)‪ ،(5‬ﻭﺗﻘﻮﻝ ﻫ‪‬ﺬﹶﺍ ﻭﻳﻦ‪ ‬ﻛﹸﻨ‪‬ﺖ‪ ‬ﻣ‪‬ﻌ‪‬ـﺎﹾﻩ‪ ،...‬ﻓﻠﻤ‪‬ـﺎ ﲰﻌﻬـﺎ‬
‫ﺍﻟﺴﻠﻄﺎﻥ ﺫﻫﺐ ﰲ ﻃﻠﺐ ﺍﺑﻨﻪ ﺫﻳﺎﺏ ﻭﻗﺪﻣﻪ ﺇﱃ ﺍﻟﻨﺎﺭ ﻗﺎﺋﻼ‪ :‬ﺍﻟﻘﹶﻼﱠﺑ‪‬ﺔ)‪ (6‬ﻭ‪‬ﺍﺵ‪ ‬ﻳ‪‬ﻘﹾﻠﹶﺒ‪‬ﻬ‪‬ﺎ )‪(7‬؟ﻗﹶـﺎﻝﹶ ﻟﹶـﻪ‪‬‬
‫ﺫﻳﺎﺏ‪:‬‬
‫ﻳ‪‬ﻘﹾﻠﹶﺒ‪‬ﻬ‪‬ﺎ ﺍﳌﹶﺎﺀْ‪ ،‬ﻗﺎﻝ ﺍﻟﺴﻠﻄﺎﻥ‪ :‬ﺍﳌﺎﺀ ﻭ‪‬ﺍﺵ‪ ‬ﻳ‪‬ﻘﹶﻠﹾﺒ‪‬ﻮﺍ ؟ ﻗﺎﻝ ﻟﻪ ﺩﻳﺎﺏ‪ :‬ﺗ‪‬ﻘﹶﻠﹾﺒ‪‬ﻮﺍ ﺍﻟﻌﻘﺒﺔ‪ ،‬ﻗﺎﻝ ﺍﻟﻌﻘﺒﺔ ﻭﺍﺵ‬
‫ﻳﻘﻠﺒﻬﺎ‪ ،‬ﻗﺎﻝ ﻟﻪ‪ :‬ﺍﻟﻌﻮﺩ‪ ،‬ﻓﻘﺎﻝ ﺍﻟﺴﻠﻄﺎﻥ ﺍﻟﻌﻮﺩ ﻭﺍﺵ ﻳﻘﻠﺒﻮﺍ ؟ ﻓﻘﺎﻝ‪ :‬ﻳﻘﻠﺒﻮﺍ ﺍﻟﻔﺎﺭﺱ‪ ،‬ﻗﺎﻝ ﺍﻟﺴـﻠﻄﺎﻥ‬
‫ﺍﻟﻔﺎﺭﺱ ﻭﺍﺵ ﻳﻘﻠﺒﻮﺍ؟ ﻓﻘﺎﻝ ﺫﻳﺎﺏ‪ :‬ﺗﻘﻠﺒﻮﺍ ﻣﺮﺗﻮ ﻋﻨﺪﺋﺬ ﻗﺎﻝ ﺍﻟﺴﻠﻄﺎﻥ ‪:‬ﺃﹶﻧ‪‬ﺎ ﺍﺑ‪‬ﻨﹺﻲ ﺻ‪‬ﺎﹶﱀﹾ ﻣ‪‬ـﺎ ﻫ‪‬ـﻮﺵ‪‬‬
‫ﺟ‪‬ﺎﻳ‪‬ﺢ‪ ،‬ﻓﻘﺎﻝ ﺫﻳﺎﺏ‪ :‬ﻫ‪‬ﺎﺫ‪‬ﻱ ﻟﹶﺒ‪‬ﻼﺩ ﺃﹶﻟ‪‬ﻲ ﻳ‪‬ﻘﹶﺪ‪‬ﻣ‪‬ﻨﹺﻲ ﻓ‪‬ﻴﹺﻬ‪‬ﺎ ﺃﹶ‪‬ﺑﻲ‪ ‬ﻟﹶﻠﹾﻘﹶﻼﱠﺑ‪‬ﺔ ﻣﺎ ﻧﹺﻴﺶ‪ ‬ﻗﹶﺎﻋ‪‬ﺪ ﻓﻴﻬﺎ‪ ،‬ﻭﺭﺣﻞ ﻣـﻊ‬
‫ﺃﺧﺘﻪ ﺇﱃ ﺃﺭﺽ ﲢﻜﻤﻬﺎ ﺍﻣﺮﺃﺓ ﺗﺴﻤﻰ ﺟﺎﺯﻳﺔ ﻓﺘﺮﻙ ﺃﺧﺘﻪ ﰲ ﺭﻋﺎﻳﺘﻬﺎ‪ ،‬ﻭﻗﺪ ﺃﻋﺠﺒﺖ ﺟﺎﺯﻳﺔ ﺑﺎﻟﻔﱴ ﳌﺎ‬
‫ﺭﺃﺗﻪ ﻓﻴﻪ ﻣﻦ ﺍﻷﻭﺻﺎﻑ ﻭﺍﻷﺧﻼﻕ ﺃﻣﺎ ﻫﻮ ﻓﻘﺪ ﺫﻫﺐ ﰲ ﺍﻟﺒﺤﺚ ﻋﻦ ﻋﻤﻞ‪ ،‬ﻓﻮﺟﺪ ﺷﻴﺨﺎ ﻟﻪ ﺳﺒﻌﺔ‬
‫ﻧﻌﺎﺝ ﻓﻘﺎﻝ ﻟﻪ ‪ :‬ﺃﹶﻋ‪‬ﻄ‪‬ﻬ‪‬ﻤ‪‬ﻠﻲ ﻧ‪‬ﺮ‪‬ﺑ‪‬ﻴﹺﻬ‪‬ﻢ‪ ‬ﻭ‪‬ﻛ‪‬ﻲ)‪(8‬ﻳ‪‬ﻮﻟﹾﺪ‪‬ﻭﺍ ﻧ‪‬ﺘ‪‬ﻨ‪‬ﺎﺻ‪‬ﻔﹸﻮﺍ‪ ،‬ﺫﻫﺐ ﺫﻳﺎﺏ ﺑﺎﻟﻨﻌﺎﺝ ﻭﻗـﺪ ﺗﻮﺍﻋـﺪ‬
‫ﻣﻌﻬﻢ ﻗﺎﺋﻼ‪ :‬ﻧﻌ‪‬ﺎﻫ‪‬ﺪ‪‬ﻛﻢ‪ ‬ﺑ‪‬ﻌ‪‬ﻬ‪‬ﺪ‪ ‬ﺭ‪‬ﺑﹺﻲ ﻣ‪‬ﻨﹺﲔ‪ ‬ﻣ‪‬ﺸ‪‬ﻴﺘ‪‬ﻮﺍ ﻧ‪‬ﺘ‪‬ﺒ‪‬ﻌﻜﹸﻢ‪ ،‬ﻭﺍﻟﻨ‪‬ﻌﺠﺎﺕ ﻋﺎﻫﺪﻭﻩ ﺑﺎﻟﻄﺎﻋـﺔ ﻭﻛﺜـﺮﺓ‬
‫ﺍﻟﻮﻻﺩﺓ‪.‬‬
‫ﺫﻫﺐ ﺩﻳﺎﺏ ﻣﺪ‪‬ﺓ ﻣﻦ ﺍﻟﺰﻣﻦ ﻭﻛﺎﻧﺖ ﺍﻟﻨﻌﺎﺝ ﺗﻠﺪﻥ ﻟﻪ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ ،‬ﰲ ﻫﺬﺍ ﺍﻟﻮﻗـﺖ ﻛﺎﻧـﺖ‬
‫ﺟﺎﺯ‪‬ﻳﺔ ﺗﺒﺤﺚ ﻋﻨﻪ ﻓﺄﺧﱪﻫﺎ ﺍﻟﺸﻴﺦ ﺑﺄﻧﻪ ﺃﻋﻄﻰ ﻟﻪ ﺍﻟﻨﻌﺎﺝ‪ ،‬ﻭﻗﺪ ﻋﺎﻫﺪﻫﻢ ﺑﺄﻧﻪ ﺳﻮﻑ ﻳﺬﻫﺐ ﻣﻌﻬﻢ‬
‫ﺃﻳﻨﻤﺎ ﺣ‪‬ﻠﱡﻮ‪‬ﺍ ‪.‬‬

‫)‪ (1‬ﺑﻨﺖ ﻋﻀﺎﻳﺎ = ﺇﺑﲏ‪ ،‬ﻭﻳﻘﺼﺪ ‪‬ﺎ ﺃﻳﻀﺎ ﻣ‪‬ﻦ‪ ‬ﺻ‪‬ﻠﹾﺒﹺﻲ ‪.‬‬
‫)‪ (2‬ﻣ‪‬ﺎﻫﻴﺶ‪ ‬ﺧ‪‬ﻔﹶﺎﻳ‪‬ﺎ = ﻻﹶ ﺗ‪‬ﺨ‪‬ﻔﹶﻲ ﻋ‪‬ﻨ‪‬ﻲ ‪.‬‬
‫)‪ (3‬ﺍﻟﱪﺍﺡ = ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﻳﻨﺎﺩﻱ ﰲ ﺍﻷﺳﻮﺍﻕ ﻣﻌﻠﻨﺎ ﺍﻷﺧﺒﺎﺭ ‪.‬‬
‫)‪ (4‬ﻏﹾﺪ‪‬ﺍﺕ‪ = ‬ﻫ‪‬ﺮ‪‬ﺑ‪‬ﺖ‪. ‬‬
‫)‪ (5‬ﲤﺠ‪‬ﺮﺩ = ﺗ‪‬ﻨﺪﺏ ﺇﺑﻨﻬﺎ ﻭﺗﺬﻛﺮ ﺃﹶﻣ‪‬ﺠ‪‬ﺎﺩ‪‬ﻩ‪. ‬‬
‫)‪ (6‬ﺍﻟﻘﻼﺑﺔ = ﺍﻟﻨﺎﺭ‬
‫)‪ (7‬ﻳﻘﻠﺒﻬﺎ = ﻳ‪‬ﻐ‪‬ﻠ‪‬ﻴ‪‬ﻬ‪‬ﺎ ‪.‬‬
‫)‪ (8‬ﻏﹾﺪ‪‬ﺍﺕ‪ = ‬ﻫ‪‬ﺮ‪‬ﺑ‪‬ﺖ‪. ‬‬
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‫ﻓﺄﻣﺮﺕ ﺟﺎﺯﻳﺔ ﺧﺪﻣﻬﺎ ﺃﻥ ﻳﺬﻫﺒﻮﺍ ﰲ ﺍﻟﺒﺤﺚ ﻋﻨﻪ ﰲ ﻛﻞﹼ ﻣﻜﺎﻥ‪ ،‬ﻓﻘﺎﻡ ﺍﳊﺮ‪‬ﺍﺱ ﺑﺎﻟﺒﺤﺚ ﺣﱴ‬
‫ﻭﺟﺪﻭﺍ ﻗﻄﻴﻌﺎ ﻫﺎﺋﻼ ﻣﻦ ﺍﻟﻨﻌﺎﺝ ﻓﹶﻨﺎﺩﻭﺍ ﻗﺎﺋﻠﲔ‪ :‬ﻳ‪‬ﺎﻟ‪ّ‬ﻲ)‪ (1‬ﰲ ﻋ‪‬ﻘﹶﺎﺏ)‪ ْ(2‬ﺍﻟﺸ‪‬ﻴﺎﻩ‪ ،‬ﺟ‪‬ﺎ ﰲ ﻭ‪‬ﺳ‪‬ﻄﹾﻬﺎ‪ ،‬ﺛﹸـﻢ‬
‫ﻧ‪‬ﺎﺩ‪‬ﻭﺍ‪ :‬ﻳ‪‬ﺎﻟ‪‬ﻲ ﰲ ﻭ‪‬ﺳ‪‬ﻂﹾ ﺍﻟﹾﺸﻴ‪‬ﺎﻩ‪ ، ‬ﺟ‪‬ﺎ ﻓ‪‬ﻲ ﺭ‪‬ﺍﺳ‪‬ﻬ‪‬ﺎ‪ ،‬ﻭ‪‬ﻋ‪‬ﻨ‪‬ﺪﻣﺎ ﻗﺎﻟﻮﺍ‪ :‬ﻳ‪‬ﺎﻟ‪ّ‬ﻲ ﰲﹺ ﺭ‪‬ﺍﺳ‪‬ﻬ‪‬ﺎ ﺃﺟﺎﺏ ﻧﺪﺍﺀﻫﻢ ﻓﻘﺎﻟﻮﺍ‬
‫‪ :‬ﻫ‪‬ﺬﹶﺍ ﻻﹶﻩ‪ ‬ﺳ‪‬ﻜﹶﺖ‪ ‬ﻋ‪‬ﻨ‪‬ﺎ ﻭ‪‬ﺗ‪‬ﻜﹶﺒ‪‬ﺮ‪ ‬ﻋ‪‬ﻠ‪‬ﻴﻨﺎ‪ ،‬ﻻﹶﺯ‪‬ﻡ‪ ‬ﻧ‪‬ﻘﹶﺘ‪‬ﻠﹸﻮﻩ‪ ،‬ﻓﻠﻤﺎ ﺗﻘﺪﻣﻮﺍ ﻣﻨﻪ ﻗﺎﻡ ﻛﺒﺶ ﺑﺎﻟﺪﻓﺎﻉ ﻋﻨﻪ ﻓﻘﺎﻟﻮﺍ ﻟﻪ‬
‫‪ :‬ﻻ‪‬ﻩ‪ ‬ﻣ‪‬ﺎ ﺭ‪‬ﺩ‪‬ﻳﺘ‪‬ﺶ‪ ‬ﻋ‪‬ﻠ‪‬ﻴﻨ‪‬ﺎ ﻣ‪‬ﻦ‪ ‬ﻟﹾﻤ‪‬ﺮ‪‬ﺓ ﻟﹸﻮﻟﹶﻰ ؟ ﻓﻘﺎﻝ ﳍﻢ ‪:‬ﻗﹸﻠﹾﺘ‪‬ﻮﺍ ﻳﺎﻟ‪ّ‬ﻲ ﰲ ﻋﻘﹶﺎﺏ‪ ‬ﺍﻟﺸ‪‬ﻴ‪‬ﺎﻩ‪ ‬ﻭ‪‬ﻣ‪‬ﺎ ﻋ‪‬ﻘﹶﺎﺑ‪‬ﻬ‪‬ﺎ ﻏ‪‬ﻴ‪‬ـﺮ‬
‫ﺫﹾﻳ‪‬ﻮﻟﹾﻬ‪‬ﺎ‪ ،‬ﻭ‪‬ﻗﹸﻠﹾﺘ‪‬ﻮﺍ ‪:‬ﻳ‪‬ﺎﻟ‪ّ‬ﻲ ﰲ ﻭ‪‬ﺳ‪‬ﻂﹾ ﺍﻟﺸﻴﺎﻩ ﻭﻣﺎ ﰲ ﻭﺳﻄﻬﺎ ﻏﲑ ﻛﺮﻭﺷﻬﺎ‪ ،‬ﻭﻗﻠﺘﻮﺍ ﻳﻠﻲ ﰲ ﺭﺃﺳـﻬﺎ ﺭﺍﱐ‬
‫ﻛﻠﻤﺘﻜﻢ ‪ ،‬ﻓﻘﺎﻝ ﳍﻢ ‪ :‬ﻣ‪‬ﺎﻛﹸﻤ‪‬ﺶ‪ (3)‬ﺭ‪‬ﺍﻳ‪‬ﺤﲔ ﺣ‪‬ﺘ‪‬ﺎﻥﹾ )‪ (4‬ﺗ‪‬ﺘ‪‬ﻌ‪‬ﺸ‪‬ﺎﻭ‪ ،‬ﻓﻘﺎﻡ ﺩﻳﺎﺏ ﺑﺬﺑﺢ ﻛﺒﺶ‪ ،‬ﻭﲝـﺚ‬
‫ﻋﻦ ﺍﳊﻄﺐ ﻓﻠﻢ ﳚﺪ‪ ،‬ﻋﻨﺪﺋﺪ ﻗﺎﻡ ﺑﻨﺰﻉ ﺃﲬﺲ ﺍﻟﺒﻨﺎﺩﻕ‪ ،‬ﻭﺃﺷﻌﻞ ﻧﺎﺭ‪‬ﺍ ﻟﺸﻮﺍﺀ ﺍﻟﻠﺤﻢ‪ ،‬ﻭﳌﹼﺎ ﺍﻧﺘﻬﻰ ﻣﻦ‬
‫ﻃﻬﻴﻪ ﻧﺎﺩﺍﻫﻢ ‪.‬‬
‫ﻓﻘﺎﻟﻮﺍ ﻟﻪ ‪:‬ﺃﻋﻼﹶﻩ‪ ‬ﻛﹶﺴ‪‬ﺮ‪‬ﺗ‪‬ﻠﹾﻨ‪‬ﺎ ﳌﹶﻜﹶﺎﺣ‪‬ﻞﹾ )‪(5‬؟‪،‬ﻗﺎﻝ ﳍﻢ‪ :‬ﺑ‪‬ﺎﻩ‪ ‬ﺗ‪‬ﻘﹸﻮﻟﹸﻮﺍ‪ :‬ﺭ‪‬ﺣﻨ‪‬ﺎ ﻟﹶﻔﹾﻼﹶﻥﹾ ﻭ‪‬ﻣ‪‬ﺎ ﺿ‪‬ﻴ‪‬ﻔﹾﻨﺎﺵ‪ ‬ﻭ‪ ‬ﱠﻻ‪.‬‬
‫ﻭ‪‬ﻻﱠ‪ .‬ﻗﺎﻟﻮﺍ ﻟﻪ ‪ :‬ﻻﹶﺯ‪‬ﻡ‪ ‬ﺗ‪‬ﺮ‪‬ﻭﺡ‪ ‬ﻣ‪‬ﻌ‪‬ﺎﻧ‪‬ﺎ ﻟﹾﺠ‪‬ﺎﺯ‪‬ﻳ‪‬ﺔ‪ ،‬ﻗﺎﻝ ﳍﻢ‪ :‬ﻻﹶ ﺭ‪‬ﺍﺣ‪‬ﻮﺍ ﺍﻟﻨ‪‬ﻌﺠﺎﺕ ﻧ‪‬ﺮ‪‬ﻭﺡ‪ ‬ﻣ‪‬ﻌ‪‬ﺎﻛﹸﻢ‪ ،‬ﻭ‪‬ﺇﺫﹶﺍ ﻣ‪‬ـﺎ‬
‫ﺭ‪‬ﺍﺣ‪‬ﻮﺵ‪ ‬ﻣﺎ ﻧ‪‬ﺮﻭ‪‬ﺣ‪‬ﺶ‪.‬‬
‫ﺫﻫﺐ ﺍﳋﺪﻡ ﺇﱃ ﺟﺎﺯﻳﺔ ﻭﺃﺧﱪﻭﻫﺎ ﲟﺎ ﺣﺪﺙ‪ ،‬ﻓﻨﺎﺩﺕ ﺍﻟﺸﻴﺦ ﺻﺎﺣﺐ ﺍﻟﻨﻌﺎﺝ ﻭﻗﺎﻟﺖ ﻟـﻪ ‪:‬‬
‫ﺭ‪‬ﻭﺡ‪(6) ‬ﺃﹶﻗﹾﺴ‪‬ﻢ‪(7)‬ﺍﻟﻨﻌ‪‬ﺠ‪‬ﺎﺕ‪ ‬ﺃﹶﻟ‪ّ‬ﻲ ﻋ‪‬ﻨ‪‬ﺪ‪ ‬ﺩ‪‬ﻳ‪‬ﺎﺏ‪ ،‬ﻭ‪‬ﻭ‪‬ﺿ‪‬ﻌ‪‬ﻮﺍ ﺍﻟﻘﺴﻤﺔ ﻋﻠﻰ ﺃﻥ ﺗﻜﻮﻥ ﻛﻞﹼ ﻧﻌﺠﺔ ﺟﺎﺀﺕ ﺑﻌﺪ‬
‫ﺑﻌﺪ ﺍﻟﺴ‪‬ﺪﺭﺓ )‪(8‬ﺗﻜﻮﻥ ﻟﺬﻳﺎﺏ‪ ،‬ﺃﻣﺎ ﻣﺎﺟﺎﺀ ﻗﺒﻠﻬﺎ ﻓﻬﻲ ﻟﻠﺸﻴﺦ ‪.‬‬
‫ﻭﺑﻌﺪ ﺍﻟﻘﺴﻤﺔ ﺃﺩﺭﻛﺖ ﺟﺎﺯﻳﺔ ﺑﺄﻥﹼ ﺍﻟﻮﻋﺪ ﻻ ﻳﺰﺍﻝ ﻗﺎﺋﻤﺎ ﻣﺎﺩﺍﻡ ﺩﻳﺎﺏ ﳝﻠﻚ ﻫﺬﺍ ﺍﻟﻘﻄﻴﻊ ﺍﳍﺎﺋﻞ‬
‫ﻓﻘﺎﻣﺖ ﺑﺘﻮﺯﻳﻌﻪ ﻋﻠﻰ ﺍﻟﻨ‪‬ﺎﺱ‪ ،‬ﻭﺗﺮﻛﺖ ﻟﻪ ﺧﺮﻭﻓﺎ ﻭﺍﺣﺪ‪‬ﺍ‪ ،‬ﻓﻘﺎﻡ ﺑﺬﲝﻪ ﻭﻃﻬﻴﻪ ﻭﺃﻛﻠﻪ ﻣﻊ ﺃﺧﺘـﻪ‪ ،‬ﰒ‬
‫ﻃﻠﺐ ﻣﻨﻬﺎ ﺃﻥ ﲡﻤﻊ ﻟﻪ ﺍﻟﻌﻈﺎﻡ ﰲ ﺻﺤﻦ ﻭﺗﺄﺧﺬﻩ ﺇﱃ ﺟﺎﺯﻳﺔ ‪.‬‬
‫ﺃﺧﺬﺕ ﺫﻳﺒﺔ ﺍﻟﺼﺤﻦ ﻭﻫﻲ ﺧﺠﻠﺔ ﳑ‪‬ﺎ ﲢﻤﻠﻪ‪ ،‬ﻭﻗﺎﻟﺖ ﳉﺎﺯﻳﺔ‪ :‬ﺧ‪‬ﻮﻳ‪‬ﺎ ﺟ‪‬ﺎﻳ‪‬ﺢ‪ ،(9)‬ﻗﺎﻟـﺖ ﳍـﺎ‬
‫ﺟﺎﺯﻳﺔ‪ :‬ﺧ‪‬ﻮﻙ‪ ‬ﺻ‪‬ﺎﱀﹾ ﻣ‪‬ﺎﻫ‪‬ﻮﺵ‪(1)‬ﺟ‪‬ﺎﻳ‪‬ﺢ‪،‬ﺭ‪‬ﺍﻩ‪ ‬ﻣ‪‬ﻌ‪‬ﻨ‪‬ﺎﻟ‪‬ﻲ ﻳﻠ‪ّ‬ﻲ ﺟ‪‬ﺮ‪‬ﺩ‪‬ﺗ‪‬ﻮﺍﻛ‪‬ﻲ ﻟﹶﻌ‪‬ﻈﹶﻢ‪،‬ﻭﰲ ﺍﻟﻐﺪ ﻗﺎﻟﺖ ﺟﺎﺯﻳﺔ ﰲ‬

‫)‪ (1‬ﻟ‪‬ﻲ = ﺍﻟﺬﻱ ‪.‬‬

‫)‪ (2‬ﻋﻘﹶﺎﺏ = ﻣ‪‬ﺆ‪‬ﺧ‪ّ‬ﺮ‪‬ﺓ‪ ،‬ﺧ‪‬ﻠﹾﻒ‪.‬‬
‫)‪ (3‬ﻣ‪‬ﺎﻛﹸﻤ‪‬ﺶ‪ = ‬ﻟﹶﺴ‪‬ﺘ‪‬ﻢ‪. ‬‬
‫)‪(4‬ﺣ‪‬ﺘ‪‬ﺎﻥﹾ = ﺇﱃ ﺃﻥ‬
‫)‪ (5‬ﻟﹶﻤ‪‬ﻜﹶﺎﺣ‪‬ﻞﹾ = ﺍﻟﺒﻨﺎﺩﻕ‪.‬‬
‫)‪(6‬ﺭ‪‬ﻭﺡ‪ = ‬ﺍﺫﹾﻫ‪‬ﺐ‪. ‬‬
‫)‪ (7‬ﺃﻗﺴ‪‬ﻢ‪ = ‬ﻗﹶﺴ‪‬ﻢ‪. ‬‬
‫)‪ (8‬ﺍﻟﺴ‪‬ﺪ‪‬ﺭﺓ = ﻧﺒﺎﺕ ﺷﻮﻛﻲ‬
‫)‪ (9‬ﺟﺎﻳ‪‬ﺢ = ﺃﻫ‪‬ﺒ‪‬ﻞﹾ ﻭﻋﺒﻴﻂ ‪.‬‬
‫‪- 173 -‬‬
‫ﺍﻟﻨﺎﺱ‪ :‬ﺃﹶﻟ‪‬ﻲ ﺃﹶﺩ‪‬ﺍ ﻧ‪‬ﻌ‪‬ﺠ‪‬ﺔ ﻳ‪‬ﺨ‪‬ﻠﹶﻔﹾﻬ‪‬ﺎ ﻧ‪‬ﺎﻗﹶﺔ‪ ،‬ﻭ‪‬ﻟ‪ّ‬ﻲ ﺃﹶﺩ‪ ‬ﺍﻛﹶﺒ‪‬ﺶ‪ ‬ﻳ‪‬ﺨ‪‬ﻠﹾﻔﹸﻮﺍ ﻣ‪‬ﺨ‪‬ﻠﹸﻮﻝ)‪، (2‬ﻭﻗﺎﻣﺖ ﲜﻤﻌﻬﻢ‪ ،‬ﻭﺃﻋﺎﺩ‪‬ﻢ‬
‫ﺇﱃ ﺫﻳﺎﺏ‪ ،‬ﻭﳌﹼﺎ ﻛﺎﻥ ﻳﺮﻋﻰ ‪‬ﻢ‪ ،‬ﺟﺎﺀﻩ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﻳﺮﻋﻰ ﺍﳋﻴﻞ ﻓﻘﺎﻝ ﻟﻪ‪ :‬ﺑﹺﻴ‪‬ﻌﻠ‪‬ﻲ ﻟﹶﺤ‪‬ﻤ‪‬ﺮ‪ ‬ﻳ‪‬ﺎ ﻣ‪‬ﻮﻻﹶﻫ‪‬ﺎ‪،‬‬
‫ﻗﺎﻝ ﻟﻪ ‪ :‬ﺑﹺﻴﻊ‪ ‬ﻣ‪‬ﻴ‪‬ﻤ‪‬ﻮﻥﹾ‪ ،‬ﻗﺎﻝ ﻟﻪ‪ :‬ﺑﹺﻴ‪‬ﻌﻠﻲ‪ :‬ﻟﺒ‪‬ﺒ‪‬ﻴ‪‬ﻀ‪‬ﺔ ﻳ‪‬ﺎﻣ‪‬ﻮﻻﹶﻫ‪‬ﺎ ‪.‬‬
‫ﻓﻘﺎﻝ ﻟﻪ ‪ :‬ﺑ‪‬ﻨ‪‬ﺺ ﻟﹾﺒ‪‬ﻞﹾ‪ ،‬ﻭﳌﹼﺎ ﻋﺎﺩ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﺇﱃ ﺍﻟﺪ‪‬ﺍﺭ ﺑﺪﺃﺕ ﺍﻟﻌﻮﺩﺓ )‪(3‬ﺍﳊﻤﺮﺍﺀ ﺑﺎﻟﺘﻘﻠـﺐ ﻭ‬
‫ﺍﳍﻴﺠﺎﻥ ﻓﻘﺎﻝ ﺑﻦ ﻟﻴﻬﻮﺩﻱ‪ :‬ﺷ‪‬ﺎﻓﹸﻮﻫ‪‬ﺎ ﻟﹶﻌ‪‬ﺮ‪‬ﺏ‪ ،‬ﻭﺣﻜﻰ ﻟﻪ ﺍﺑﻨﻪ ﺑﺎﻟﺬﻱ ﺣﺪﺙ‪ ،‬ﻓﻘﺎﻝ ﻟﻪ‪ :‬ﺑﹺﻴﻊ‪ ‬ﺍﻟﺒ‪‬ﻴ‪‬ﺼ‪‬ـﺔ‬
‫ﺑ‪‬ﻨ‪‬ﺺ‪ ‬ﺍﻟﺒ‪‬ﻞﹾ ﺑ‪‬ﺎﻩ‪ ‬ﺗ‪‬ﺒ‪‬ﺮﹺﻱ ﻟﹶﺤ‪‬ﻤ‪‬ﺮ‪ ،‬ﺫﻫﺐ ﺑﻦ ﻟﻴﻬﻮﺩﻱ ﻭﺑﺎﻉ ﺍﻟﺒﻴﻀﺔ ﺑﻨﺼﻒ ﺍﻹﺑﻞ‪ ،‬ﻭﺭﻛﺐ ﺩﻳﺎﺏ ﺍﻟﻌﻮﺩﺓ‬
‫ﺍﻟﺒﻴﻀﺎﺀ‪ ،‬ﺍﻟﱵ ﻛﺎﻧﺖ ﻣﺜﻞ ﺍﳊﻤﺎﻡ‪ ،‬ﻓﻠﻤﺎ ﺭﺃ‪‬ﺎ ﺟﺎﺯﻳﺔ ﻗﺎﻟﺖ‪ :‬ﻳ‪‬ﺪ‪‬ﺭ‪(4)‬ﺣ‪‬ﻤ‪‬ﺎﻣ‪‬ﺔ ﻃﹶﺎﻳ‪‬ﺮ‪‬ﺓ‪ ،‬ﻭ‪‬ﻻﱠ ﺫﻳﺎﺏ‪ ‬ﺭ‪‬ﺍﻛﹶﺐ‪‬‬
‫ﺍﻟﺒ‪‬ﻴ‪‬ﻀﺔ ؟ ﻓﻮﺿﻌﺖ ﻟﻪ ﻗﹶﺼﺒﺔ ﺍﳌﻨﺴﺞ ﻓﺮﻛﺐ ﻋﻠﻴﻬﺎ ﻭﻗﺎﻝ ﳍﺎ‪ :‬ﺗ‪‬ﻘﹶﺒ‪‬ﻠﻲ ﺗ‪‬ﻜﹸﻮﻧﹺﻲ ﰲ ﺣ‪‬ﺮ‪‬ﻣ‪‬ﱵ ﻭ‪‬ﻻﱠ ؟ ﻓﻘﺒﻠﺖ‬
‫ﺑﻪ ﺟﺎﺯﻳﺔ ﻭﰲ ﻟﻴﻠﺔ ﺍﻟﻌ‪‬ﺮﺱ ﺟﻠﺴﺎ ﻟﺘﻨﺎﻭﻝ ﺍﻟﻌﺸﺎﺀ ﻓﺒﻘﻲ ﺫﻳﺎﺏ ﻳﻜﺪ‪‬ﺩ ﰲ ﺍﻟﻌﻈﻢ‪ ،‬ﻭﺟﺎﺯﻳﺔ ﺗﻠﺤﺲ ﰲ‬
‫ﺍﻟﻘﺼﻌﺔ ﻓﻘﺎﻝ ﳍﺎ ﺩﻳﺎﺏ ‪ :‬ﺍﻟﹶْﻬ‪‬ﻢ‪ ‬ﺍﻟﺪ‪‬ﺣ‪‬ﻴﺲ‪ ‬ﺃﹶﻟ‪ّ‬ﻲ ﻣ‪‬ﺎ ﺷ‪‬ﺒ‪‬ﻊ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺍﻟﹾﻘﹶﺼ‪‬ﻌ‪‬ﺔ ﻣ‪‬ﺎﻳﹺﺸﺒﻊ‪ ‬ﻣ‪‬ﻦ‪ ‬ﻟﹾﺤ‪‬ﻴ‪‬ﺲ‪.‬‬
‫ﻓﻘﺎﻟﺖ ﻟﻪ ﺟﺎﺯﻳﺔ ‪ :‬ﺍﻟﹾﻬ‪‬ﻢ‪ ‬ﺍﻟﹾﻬ‪‬ﻢ‪ ‬ﺃﹶﻟ‪ّ‬ﻲ ﻣ‪‬ﺎﺷ‪‬ﺒ‪‬ﻊ‪ ‬ﻣ‪‬ﻦ‪ ‬ﺍﻟﻠﹾﺤ‪‬ﻢ‪ ‬ﻣ‪‬ﺎ ﻳ‪‬ﺸ‪‬ﺒ‪‬ﻊ‪ ‬ﻣﻦ‪ ‬ﻟﹶﻌ‪‬ﻈﹶﻢ‪‬‬
‫) ‪(5‬‬
‫ﻓﻘﺎﻝ ﳍﺎ ﺩﻳﺎﺏ‪ :‬ﺭ‪‬ﺍﻛ‪‬ﻲ ﰲ ﻏﹶﺮ‪‬ﺿ‪‬ﻚ‪‬‬
‫ﻭﺭﺣﻞ ﺇﱃ ﺃﺭﺽ ﺑﻌﻴﺪﺓ ﻭﺗﺮﻛﻬﺎ ﺣﺎﻣﻼ‪ ،‬ﻭﺑﻌﺪ ﻣﺪﺓ ﻃﻮﻳﻠﺔ ﻋﺎﺩ ﻳﺒﺤﺚ ﻋﻦ ﺍﺑﻨﺘﻪ ﻭﰲ ﲡﻮﺍﻟـﻪ‬
‫ﺑﲔ ﻋﺮﺵ ﺟﺎﺯﻳﺔ ﻭﺟﺪ ﺑﻨﺎﺗﺎ ﻳﻠﻌﺒﻮﻥ ﻓﻠﻤﺎ ﺭﺃﻭﻧﻪ ﻳﻘﺘﺮﺏ ﻣﻨﻬﻦ ﻓﺮﺭﻥ‪،‬ﺇﻻﹼﻭﺍﺣﺪﺓ‪ ،‬ﳌﹼﺎ ﺍﻗﺘـﺮﺏ ﻣﻨـﻬﺎ‬
‫ﺳﺄﳍﺎ‪ :‬ﻻﹶﻩ‪ ‬ﻣ‪‬ﻬ‪‬ﺮﺑ‪‬ﺘ‪‬ﻴﺶ‪ ‬ﻣﻌﺎﻫﻢ؟ ﻗﺎﻟﺖ ﻟﻪ‪ :‬ﺃﹶﻧ‪‬ﺎ ﺃﺑ‪‬ﻲ‪ ‬ﺫﻳﺎﹶﺏ‪، ‬ﻣ‪‬ﺎ ﻳ‪‬ﺨ‪‬ﺎﻑ‪ ‬ﻣ‪‬ﻦ‪ ‬ﻟﹾﺒ‪‬ﺎﺭ‪‬ﻭﺩ‪،‬ﻭ‪‬ﻣ‪‬ﺎ ﺟ‪‬ﺎﺯ‪‬ﻳ‪‬ﺔ ﻣ‪‬ﺎﲣﹶـﺎﻑ‪‬‬
‫ﻣ‪‬ﻦ‪ ‬ﻣ‪‬ﻴﻌ‪‬ﺎﺩ‪ ،‬ﻓﹶﻘﹶﺒ‪‬ﻠﹶﻬ‪‬ﺎ‪ ،‬ﻭﺫﻫﺒﺖ ﺇﱃ ﺃﹸﻣﻬﺎ ﻓﺄﺧﱪ‪‬ﺎ ﺑﺬﻟﻚ‪،‬ﻓﻘﺎﻟﺖ ﳍﺎ‪ :‬ﻫ‪‬ﺬﹶﺍ ﻣ‪‬ـﺎ ﻳ‪‬ﻜﹸـﻮﻥﹾ ﻏ‪‬ـﲑ‪ ‬ﺃﹶﺑ‪‬ﻴ‪‬ـﻚ‪‬‬
‫ﻭﺧﺮﺟﺖ ﺍﻻﺛﻨﺘﺎﻥ ﰲ ﻃﻠﺒﻪ ﻭﻋﺎﺵ ﺍﳉﻤﻴﻊ ﰲ ﺳﻌﺎﺩﺓ ﻭﻫﻨﺎﺀ‪.‬‬
‫ﻭﻫﺬﺍ ﻣﺎ ﲰﻌﻨﺎ ﻭﻫﺬﺍ ﻣﺎ ﻗﻠﻨﺎ ﻭﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪ :‬ﻥ ﺍﻟﺰ‪‬ﻳﺘﻮﱐ‬

‫)‪ (1‬ﻣ‪‬ﺎﻫﻮﺵ‪ = ‬ﻟﻴﺲ ‪.‬‬

‫)‪ (2‬ﻣ‪‬ﺨ‪‬ﻠﹸﻮﻝ = ﺻ‪‬ﻐ‪‬ﲑ‪ ‬ﺍﻹﺑﻞﹾ‪.‬‬
‫)‪ (3‬ﺍﻟﻌﻮﺩﺓ = ﺃﻧﺜﻰ ﺍﳊﺼﺎﻥﹶ‬
‫)‪ (4‬ﻳ‪‬ﺪ‪‬ﺭ‪‬ﺍ= ﻳﺎ ﺗ‪‬ﺮﻯ ‪.‬‬
‫)‪ (5‬ﻏﺮﺿﻚ = ﺣ‪‬ﺎﻟﹸﻚ‪. ‬‬
‫‪- 174 -‬‬
 ‫‪-6‬ﺑﻘـﺮﺓ ﺍﻟﻴﺘﺎﻣـﻰ‪:‬‬
‫ﻳ‪‬ﺤﻜﻰ ﺃﻥ ﺍﻣﺮﺃﺓ ﻛﺎﻧﺖ ﺗﻌﻴﺶ ﺳﻌﻴﺪﺓ ﻣﻊ ﺯﻭﺟﻬﺎ ﻭﻭﻟﺪﻳﻬﺎ ﻭﻓﺠﺄﺓ ﺃﺧﺬﻫﺎ ﺍﳌﻮﺕ ﻣﻦ ﺑﻴﻨﻬﻢ‬
‫ﻓﻘﺎﻡ ﺍﻟﺮﺟﻞ ﺑﺎﻟﺰﻭﺍﺝ ﻣﻦ ﺃﺟﻞ ﺗﺮﺑﻴﺔ ﻭﻟﺪﻳﻪ ﻭﺗﻠﺒﻴﺔ ﺣﺎﺟﻴﺎ‪‬ﻤﺎ‪ ،‬ﻟﻜﻦ ﺍﻟﺰﻣﻦ ﺟﺎﺭ ﻋﻠﻴﻬﻢ ﻣﺮ‪‬ﺓ ﺛﺎﻧﻴﺔ‬
‫ﻓﻘﺪ ﻛﺎﻧﺖ ﺯﻭﺟﺘﻪ ﺗﻌﺎﻣﻠﻬﻤﺎ ﻣﻌﺎﻣﻠﺔ ﺳﻴ‪‬ﺌﺔ ﻭﺗﺒﺨﻞ ﻋﻠﻴﻬﻤﺎ ﺑﺎﻷﻛﻞ‪ ،‬ﻭﺗﻐﺎﺭ ﻣﻨﻬﻤﺎ ﻛﺜﲑﺍ ﻟﺮﻭﻋﺔ‬
‫ﲨﺎﳍﻤﺎ ﺭﻏﻢ ﻣﺎ ﻳﻌﺎﻧﻴﺎﻧﻪ ﻣﻦ ﺍﻟﺒﺆﺱ ﻭ ﺍﳊﺮﻣﺎﻥ‪.‬‬
‫ﻓﻜﺎﻥ ﺍﻟﻮﻟﺪ ﻭ ﺃﺧﺘﻪ ﻳﺬﻫﺒﺎﻥ ﺇﱃ ﺑﻘﺮﺓ ﺗﺮﻛﺘﻬﺎ ﺃﻣﻬﻤﺎ ﻳﺮﺿﻌﺎﻥ ﻣﻦ ﺿﺮﻋﻬﺎ‪،‬ﻓﺘﺴﺎﺀﻟﺖ ﻋﻦ‬
‫ﻣﺼﺪﺭ ﺃﻛﻠﻬﻤﺎ ﻓﻘﺎﻟﺖ ﻻﺑﻨﺘﻬﺎ ‪:‬ﺗﺒﻌﻴﻬﻢ ﻭ ﺟﻴﱯ ﱄ ﺍﺧﱪﻫﻢ‪.‬‬
‫ﻓﺘﺒﻌﺖ ﺍﻟﻌﻮﺭﺓ ﺍﻟﻄﻔﻠﲔ ﻓﻮﺟﺪ‪‬ﻤﺎ ﻳﺮﺿﻌﺎﻥ ﻣﻦ ﺍﻟﺒﻘﺮﺓ‪ ،‬ﻓﺄﺭﺍﺩﺕ ﺃﻥ ﺗﺮﺿﻊ ﻫﻲ ﺍﻷﺧﺮﻯ‬
‫ﻓﺮﻓﺴﺘﻬﺎ ﺍﻟﺒﻘﺮﺓ‪ ،‬ﻓﻌﺎﺩﺕ ﺇﱃ ﺃﻣﻬﺎ ﺗﺒﻜﻲ‪ ،‬ﻓﻐﻀﺒﺖ ﺍﻷﻡ ﻭﻃﻠﺒﺖ ﻣﻦ ﺯﻭﺟﻬﺎ ﺃﻥ ﻳﺒﻴﻌﻬﺎ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪:‬‬
‫ﻛﻴﻔﺎﻩ ﻧﺒﻴﻊ ﺑﻘﺮﺓ ﻟﻴﺘﺎﻣﻰ ﺍﻟﻠﹼﻲ ﻋﺎﻳﺸﲔ ﺃﻭﻻﺩﻱ ﻣﻨﻬﺎ!؟‪ ،‬ﻓﻘﺎﻟﺖ ﻟﻪ ﺍﻷﻡ‪ :‬ﻻﺯﻡ‪ ‬ﺍﺗﺒﻴﻌﻬﺎ ﻭﺇﻻﹼ‬
‫ﻣﻨﻘﻌﺪﺵ‪ ‬ﰲ ﺍﻟﺪ‪‬ﺍﺭ‪.‬‬
‫ﻓﺄﺧﺬ ﺍﻟﺰﻭﺝ ﺍﻟﺒﻘﺮﺓ ﺇﱃ ﺍﻟﺴﻮﻕ ﻭﺑﺪﺃ ﻳﻨﺎﺩﻱ‪ :‬ﺍﻟﻠﹼﻲ ﻳﺸﺮﻱ ﺑﻘﺮﺓ ﺍﻟﻴﺘﺎﻣﻰ‪ ،...‬ﻓﻤﺎ ﺇﻥ ﻳﺴﻤﻊ‬
‫ﺃﺣﺪﻫﻢ ﻫﺬﺍ ﺍﻟﻨﺪﺍﺀ ﺣﱴ ﻳﻘﻮﻝ‪ :‬ﻳﺎ ﺣﻔﻴﻆ ﻛﻴﻔﺎﻩ ﻧﺸﺮﻱ‪ ‬ﺑﻘﺮﺓ ﺍﻟﻴﺘﺎﻣﻰ!‪.‬‬
‫ﻓﻠﻢ ﻳﺒﻊ ﺍﻟﺰﻭﺝ ﺍﻟﺒﻘﺮﺓ ﰲ ﺫﻟﻚ ﺍﻟﻴﻮﻡ ﻭﻋﺎﺩ ‪‬ﺎ ﺇﱃ ﺍﻟﺪﺍﺭ‪ ،‬ﻓﻄﻠﺒﺖ ﻣﻨﻪ ﺍﻟﺰﻭﺟﺔ ﺃﻥ ﻳﻌﻴﺪﻫﺎ ﺇﱃ‬
‫ﺍﻟﺴﻮﻕ ﺍﻷﺳﺒﻮﻉ ﺍﳌﻘﺒﻞ‪ ،‬ﻓﻔﻌﻞ ﺍﻷﺏ‪ ،‬ﻭﻟﺒﺴﺖ ﺯﻭﺟﺘﻪ ﻟﺒﺎﺳﺎ ﺭﺟﺎﻟﻴﺎ ﻭﺫﻫﺒﺖ ﺇﱃ ﺍﻟﺴﻮﻕ ﻭﻗﺎﻟﺖ‬
‫ﻟﻪ‪ :‬ﺃﺫﺑﺢ ﻭﻣﻠﹼﺢ ﻭﺑﻴﻊ ﺗﺮﺑﺢ‪ ،‬ﻓﻔﻌﻞ ﺫﻟﻚ ﻏﲑ ﺃﻧﻪ ﱂ ﻳﻮﻓﻖ ﰲ ﺑﻴﻊ ﳊﻤﻬﺎ‪ ،‬ﻓﻨﻘﻠﻪ ﺇﱃ ﺍﻟﺒﻴﺖ‪ ،‬ﻓﻜﺎﻧﺖ‬
‫ﺗﻄﻌﻢ ﺃﺑﻨﺘﻬﺎ ﺍﻟﻌﻮﺭﺓ ﺍﻟﻠﺤﻢ ﻭﺗﺮﻣﻲ ﺍﻟﻌﻈﻢ ﻟﻠﻮﻟﺪﻳﻦ‪.‬‬
‫ﻭﻣﻦ ﺷﺪ‪‬ﺓ ﺣﺰ‪‬ﻤﺎ ﻛﺎﻥ ﺍﻟﻮﻟﺪﺍﻥ ﻳﺬﻫﺒﺎﻥ ﻟﻠﺒﻜﺎﺀ ﻋﻨﺪ ﻗﱪ ﺃﻣﻬﻤﺎ ﻓﺘﺨﺮﺝ ﳍﻤﺎ ﺃﺻﺒﻌﺎ ﻣﻦ‬
‫ﺍﻟﻌﺴﻞ ﻭﺁﺧﺮ ﻣﻦ ﺍﻟﺪ‪‬ﻫﺎﻥ‪ ،‬ﻓﺘﺒﻌﺘﻬﻤﺎ ﺍﻟﻌﻮﺭﺓ ﻣﺮﺓ ﺃﺧﺮﻯ ﻭﺃﺭﺍﺩﺕ ﺃﻥ ﺗﻔﻌﻞ ﻣﺜﻠﻬﻤﺎ‪ ،‬ﻓﺄﺧﺮﺟﺖ ﳍﺎ‬
‫ﺃﺻﺒﻌﺎ ﻣﻦ ﺍﻟﺪﻡ ﻭﺁﺧﺮﻣﻦ ﺍﻟﻘﻴﺢ‪.‬‬

‫‪ ‬ﻻﺯﻡ‪ :‬ﳚﺐ ﻋﻠﻴﻚ‪.‬‬

‫‪ ‬ﻣﻨﻘﻌﺪﺵ‪ :‬ﻟﻦ ﺃﺑﻘﻰ ﰲ ﺍﻟﺒﻴﺖ‬
‫‪ ‬ﻛﻴﻔﺎﻩ‪ :‬ﻛﻴﻒ‪.‬‬
‫‪ ‬ﺍﻟﺪﻫﺎﻥ‪ :‬ﺍﻟﺰﺑﺪﺓ ﺍﻟﻄﺒﻴﻌﻴﺔ‬
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‫ﻓﻌﺎﺩﺕ ﺇﱃ ﺃﻣﻬﺎ ﺗﺒﻜﻲ ﻓﻘﺎﻟﺖ ﳍﺎ‪ :‬ﻫﻲ ﻣﻴﺘﺔ ﻭﲢﻴﻞ‪ ،‬ﻓﻘﺎﻣﺖ ﲝﺮﻕ ﻋﻈﺎﻣﻬﺎ ﻏﲑ ﺃﻥ ﺣﻘﺪﻫﺎ‬
‫ﱂ ﻳﻨﻔﺬ ﻓﻄﻠﺒﺖ ﻣﻦ ﺯﻭﺟﻬﺎ ﺃﻥ ﻳﺄﺧﺬﳘﺎ ﺇﱃ ﺍﻟﻐﺎﺑﺔ ﻭﻳﺘﺮﻛﻬﻤﺎ‪ .‬ﻓﺄﺧﺬﳘﺎ ﺍﻷﺏ ﺇﱃ ﺍﻟﻐﺎﺑﺔ ﻣﺪﻋﻴﺎ ﺃﻧﻪ‬
‫ﻳﺮﻳﺪ ﺃﻥ ﳛﺘﻄﺐ‪ ،‬ﻭﺃﺧﺬ ﻣﻌﻪ ﺍﻟﻘﻠﻴﺔ‪ ،‬ﻭﳌﹼﺎ ﻭﺻﻞ ﺇﱃ ﺍﻟﻐﺎﺑﺔ ﻭﺿﻊ ﳍﻤﺎ ﺍﻟﻘﻠﻴﺔ ﻭﻗﺎﻝ ﳍﻢ‪:‬‬
‫ﺭﺍﱐ ﻭﺭ‪‬ﺍﱐ‪ ‬ﳓﻄﺐ ﻛﻲ ﺗﻜﻤﻠﻮﺍ ﺍﻟﻘﻠﻴﺔ ﺃﺭﻭﺍﺣﻮ‪ ‬ﻟﻴ‪‬ﺎ‪.‬‬
‫ﻓﺠﻠﺲ ﺍﻟﻮﻟﺪﺍﻥ ﻳﺄﻛﻼﻥ ﺍﻟﻘﻠﻴﺔ ﻭﻳﻘﻮﻻﻥ‪ :‬ﺭﺍﻩ ﻭﺭ‪‬ﺍﻩ ﺃﺑ‪‬ﻴﻨﺎ ﳛﻄﺐ‪ ،‬ﻭﳌﺎ ﺍﻧﺘﻬﻴﺎ ﻣﻦ ﺍﻷﻛﻞ‬
‫ﺗﻮﺟﻬﺎ ﳓﻮ ﺃﺑﻴﻬﻤﺎ ﻓﻠﻢ ﳚﺪﺍﻩ‪ ،‬ﻓﺤﺰﻧﺎ ﺣﺰﻧﺎ ﺷﺪﻳﺪﺍ ﻭﺑﻴﻨﻤﺎ ﳘﺎ ﻛﺬﻟﻚ ﺷﻌﺮﺍ ﺑﺎﻟﻌﻄﺶ‪ ،‬ﻓﻨﻈﺮ ﺍﻟﻮﻟﺪﺍﻥ‬
‫ﻓﻮﺟﺪﺍ ﺳﺎﻗﻴﺔ‪ ،‬ﻣﻦ ﻳﺸﺮﺏ ﻣﻨﻬﺎ ﻭﻫﻲ ﺗﻨﻘﻊ‪ ‬ﺭﺃﺳﻪ ﻳﺘﺤﻮﻝ ﺇﱃ ﻏﺰﺍﻝ‪ ،‬ﻓﺸﺮﺑﺖ ﺍﻟﺒﻨﺖ ﻭﺃﺧﺬﺕ‬
‫ﺗﺴﻘﻲ ﺃﺧﺎﻫﺎ ﺑﻜﻔﻬﺎ ﻟﻜﻨﻪ ﱂ ﻳﺮﺗﻮﻱ‪ ،‬ﻓﺄﺩﺧﻞ ﺭﺃﺳﻪ ﻟﻴﺸﺮﺏ ﻓﺘﺤﻮ‪‬ﻝ ﺇﱃ ﻏﺰﺍﻝ‪ ،‬ﻭﻣﻦ ﺗﻠﻚ ﺍﻟﻠﺤﻈﺔ‬
‫ﺻﺎﺭ ﻳﺮﻋﻰ ﻣﻊ ﺍﻟﻐﺰﻻﻥ ﻟﻴﻌﻮﺩ ﺇﱃ ﺃﺧﺘﻪ ﻭﻫﻲ ﻋﻠﻰ ﺍﻟﺸﺠﺮﺓ ﻟﻴﻼ‪.‬‬
‫ﻭﻣﺮ‪‬ﺕ ﺍﻟﺴﻨﲔ ﻭﳘﺎ ﻋﻠﻰ ﻫﺬﻩ ﺍﳊﺎﻝ‪ ...‬ﻭﰲ ﻣﺮﺓ ﻣﻦ ﺍﳌﺮ‪‬ﺍﺕ ﻭﺑﻴﻨﻤﺎ ﺍﻟﻔﺘﺎﺓ ﺗﺴﺮ‪‬ﺡ ﰲ‬
‫ﺷﻌﺮﻫﺎ ﻓﺈﺫﺍ ﺑﺄﻣﲑ ﺭﻓﻘﺔ ﺣﺼﺎﻧﻪ ﻳﺮﻳﺪ ﺃﻥ ﻳﺸﺮﺏ ﻣﻦ ﺍﻟﺴﺎﻗﻴﺔ‪ ،‬ﻭﺑﻴﻨﻤﺎ ﻫﻮ ﻛﺬﻟﻚ ﺭ‪‬ﺑﻂ ﻟﺴﺎﻥ‬
‫ﺍﳊﺼﺎﻥ ﺑﺸﻌﺮﺓ ﻃﻮﻳﻠﺔ‪ ،‬ﻓﺘﻮﻗﻒ ﻋﻦ ﺍﻟﺸﺮﺏ‪ ،‬ﻓﻨﻈﺮ ﺍﻷﻣﲑ ﺇﻟﻴﻪ ﻓﺄﺑﺼﺮ ﺍﻟﺸﻌﺮﺓ‪ ،‬ﻭﳌﺎ ﺍﻧﺘﺰﻋﻬﺎ ﺃﻗﺴﻢ‬
‫ﺃﻥ ﻳﺘﺰ‪‬ﻭﺝ ﺑﺼﺎﺣﺒﺔ ﺗﻠﻚ ﺍﻟﺸﻌﺮﺓ‪.‬‬
‫ﻓﺮﺍﺡ ﻳﺒﺤﺚ ﻋﻨﻬﺎ ﺩﻭﻥ ﺟﺪﻭﻯ‪ ،‬ﻓﺬﻫﺐ ﻻﺳﺘﺸﺎﺭﺓ ﺳﺘ‪‬ﻮﺕ ﻭﺃﺧﱪﻫﺎ ﻋﻦ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ‬
‫ﻭﺟﺪ ﻓﻴﻪ ﺍﻟﺸﻌﺮﺓ‪ ،‬ﻭﻗﺪ ﺃﺧﱪﻫﺎ ﺃﻧﻪ ﻋﻨﺪﻣﺎ ﻳﻨﻈﺮ ﺇﱃ ﺍﻟﺴﺎﻗﻴﺔ ﻳﺮﻯ ﻭﺟﻪ ﻓﺘﺎﺓ ﲨﻴﻠﺔ ﻭﻋﻨﺪﻣﺎ ﻳﺮﻓﻊ‬
‫ﺭﺃﺳﻪ ﻻ ﳚﺪﻫﺎ‪.‬‬
‫ﻓﻘﺎﻣﺖ ﺳﺘ‪‬ﻮﺕ ﺑﺈﺣﻀﺎﺭ ﻗﺪﺭ ﻭﺟﻔﻦ ﻭﻛﻠﺐ ﻭﺣﺼﺎﻥ ﻭﺃﺧﺬ‪‬ﻢ ﲢﺖ ﺍﻟﺸﺠﺮﺓ‪ ،‬ﻓﺄﻗﻠﺒﺖ‬
‫ﺍﻟﻘﺪﺭ ﻋﻠﻰ ﻓﻤﻪ‪ ،‬ﻭﺃﻗﻠﺒﺖ ﺍﳉﻔﻦ ﻛﺬﻟﻚ ﻭﺭﺑﻄﺖ ﺍﻟﻜﻠﺐ ﻣﻦ ﺭﺟﻠﻪ ﻭﺍﳊﺼﺎﻥ ﻣﻦ ﺭﻗﺒﺘﻪ‪.‬‬
‫ﻭﻗﺪ ﻛﺎﻥ ﺍﻷﻣﲑ ﳐﺘﺒﺌﺎ ﺧﻠﻒ ﺍﻷﺷﺠﺎﺭ‪ ،‬ﻓﺘﻜﻠﹼﻤﺖ ﺍﻟﻔﺘﺎﺓ ﻣﻦ ﻓﻮﻕ ﺍﻟﺸﺠﺮﺓ ﻭﻗﺎﻟﺖ‪:‬‬
‫ﻻﻩ ﺭﺍﻛﻲ)‪ (1‬ﺗﻘﻠﱯ ﻓﺎﳊﻮﺍﻳﺞ ﻳﺎ ﺟﺪﺓ؟‬
‫ﻓﻘﺎﻟﺖ ﺳ‪‬ﺘ‪‬ﻮﺕ‪ :‬ﻣﻌﺮﻓﺘﺶ ﻳﺎ ﺍﺑﻨﻴﱵ ﺃﺭﻭﺍﺣﻲ ﻭﺭ‪‬ﻳﻠﻲ)‪.(2‬‬

‫‪ ‬ﺍﻟﻘﻠﻴﺔ‪ :‬ﲢﻤﻴﺺ ﺍﻟﻘﻤﺢ ﻭﺭﺷﻪ ﲟﺎﺀ ﳑﻠﺢ ﰒ ﲡﻔﻴﻔﻪ‪.‬‬

‫‪ ‬ﺭﺍﱐ ﻭﺭﺍﱐ‪ :‬ﺃﻧﺎ ﻫﻨﺎﻙ‪.‬‬
‫‪ ‬ﺃﺭﻭﺍﺣﻮ ﻟﻴﺎ‪ :‬ﺗﻌﺎﻟﻮﺍ ﺇﱄ‪.‬‬
‫‪ ‬ﻳﻨﻘﻊ‪ :‬ﻳﺪﺧﻠﺮﺃﺳﻪ ﰲ ﺍﻟﺴﺎﻗﻴﺔ ﻭﺑﺸﺮﺏ‪.‬‬
‫)‪ (1‬ﻻﻩ ﺭﺍﻛﻲ‪ :‬ﳌﺎﺫﺍ ﺃﻧﺖ‪.‬‬
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‫ﻓﻨﺰﻟﺖ ﺍﻟﻔﺘﺎﺓ ﻣﻦ ﺃﻋﻠﻰ ﺍﻟﺸﺠﺮﺓ‪ ،‬ﻓﺨﺮﺝ ﺍﻷﻣﲑ ﻭﺃﻣﺴﻜﻬﺎ ﻭﻃﻠﺐ ﻣﻨﻬﺎ ﺍﻟﺰﻭﺍﺝ‪ ،‬ﻓﻘﺒﻠﺖ ﺑﻪ ﺷﺮﻁ‬
‫ﺃﻥ ﻳﻌﻴﺶ ﻣﻌﻬﺎ ﺃﺧﻮﻫﺎ ﺍﻟﻐﺰﺍﻝ‪ ،‬ﻓﺘﺰﻭﺟﻬﺎ ﻭﻋﺎﺷﺎ ﰲ ﺳﻌﺎﺩﺓ‪..‬‬
‫ﻭﺫﺍﺕ ﻣﺮﺓ ﻣﺮ‪ ‬ﺎ ﺷﻴﺦ ﻛﺒﲑ ﻃﺎﻟﺒﺎ ﻣﻨﻬﺎ ﺍﻟﻄﻌﺎﻡ ﻓﻨﻈﺮﺕ ﺇﻟﻴﻪ ﻭﻋﺮﻓﺖ ﺃﻧﻪ ﻭﺍﻟﺪﻫﺎ‪ ،‬ﻓﺄﺣﻀﺮﺕ ﻟﻪ‬
‫ﺧﺒﺰﺍ ﺑﺪﺍﺧﻠﻪ ﺫﻫﺐ ﻭﻓﻀﺔ ﻭﻗﺎﻟﺖ ﻟﻪ‪ :‬ﻣﺎ ﺗﻜﻠﺶ ﻣﻨﻬﺎ ﺣﺘ‪‬ﺎﻥ ﺗﺮﻭﺡ ﻟﻠﺪ‪‬ﺍﺭ‪.‬‬
‫ﻭﳌﺎ ﻭﺻﻞ ﺇﱃ ﺍﻟﺒﻴﺖ ﻭﺟﺪ ﺑﺪﺍﺧﻠﻪ ﻣﺎ ﻭﺟﺪ ﻓﻘﺎﻟﺖ ﻟﻪ ﺯﻭﺟﺘﻪ‪ :‬ﻣﺎ ﺗﻜﻮﻥ ﻫﺬﻱ ﻏﲑ ﺑﻨﺘﻚ‪ ،‬ﻭﻟﹼﻲ‬
‫ﻟﻴﻬﺎ ﻭﺃﻋﺮﻑ ﺍﺧﱪﻫﺎ‪.‬‬
‫ﻓﻌﺎﺩ ﺇﻟﻴﻬﺎ ﻭﺍﻟﺪﻫﺎ‪ ،‬ﻭﺳﺄﻝ ﺯﻭﺟﻬﺎ ﻋﻨﻬﺎ ﻓﺄﺧﱪﻩ ﺍﻟﺰﻭﺝ ﻋﻦ ﺣﻘﻴﻘﺘﻬﺎ ﻓﻘﺎﻝ ﻟﻪ ﺍﻟﺸﻴﺦ‪ :‬ﻫﺎﺫﻱ ﺑﻨﱵ!‪،‬‬
‫ﻭﻗﺎﻝ ﻻﺑﻨﺘﻪ ﺑﻌﺪ ﺃﻥ ﻋﺮﻑ ﺣﻘﻴﻘﺘﻬﺎ‪ :‬ﺳﺄﺣﻀﺮ ﻟﻚ ﺃﺧﺘﻚ ﻭﺃﻣﻚ ﻟﻴﺴﺎﻋﺪﺍﻙ ﰲ ﺃﻋﻤﺎﻝ ﺍﳌﻨﺰﻝ‬
‫ﺫﻫﺐ ﺍﻷﺏ ﻭﺃﺗﻰ ﺑﺰﻭﺟﺘﻪ ﻭﺍﺑﻨﺘﻬﺎ ﺍﻟﻌﻮﺭﺓ ﺍﻟﻠﹼﺘﺎﻥ ﺃﺻﺒﺤﺘﺎ ﺃﻛﺜﺮﺍ ﺣﻘﺪﺍ ﻭﻛﺮﻫﺎ ﳍﺎ ﳌﺎ ﺭﺃﻳﺎﻩ ﻣﻦ‬
‫ﺍﻟﺮﻓﺎﻫﻴﺔ ﰲ ﻋﻴﺸﻬﺎ‪ ،‬ﻭﺃﻭﺻﺖ ﺍﻷﻡ ﺍﺑﻨﺘﻬﺎ ﺍﻟﻌﻮﺭﺓ ﺃﻥ ﺗﻘﺘﻞ ﺍﻟﻔﺘﺎﺓ ﻭﲢﻞ ﳏﻠﻬﺎ‪.‬‬
‫ﻭﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﻭﳘﺎ ﻳﺘﺠﻮﻻﻥ ﰲ ﺍﳊﺪﻳﻘﺔ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﺍﻟﺒﺌﺮ ﺩﻓﻌﺖ ﺍﻟﻌﻮﺭﺓ ﺑﺄﺧﺘﻬﺎ ﺃﺳﻔﻠﻪ ﻭﻫﻲ‬
‫ﺣﺎﻣﻞ ﰲ ﺷﻬﺮﻫﺎ ﺍﻟﺘﺎﺳﻊ‪ ،‬ﻓﻮﺿﻌﺖ ﻃﻔﻠﲔ ﻭﻗﺪ ﻛﺎﻥ ﰲ ﻗﺎﻉ ﺍﻟﺒﺌﺮ ﺣﻴﺔ ﳍﺎ ﺳﺒﻌﺔ ﺭﺅﻭﺱ ﺗﺮﻳﺪ ﺃﻥ‬
‫ﺗﺄﻛﻞ ﺍﻟﻄﻔﻠﲔ‪ ،‬ﻭﻧﺼﺒﺖ ﺍﻟﻌﻮﺭﺓ ﻧﻔﺴﻬﺎ ﻣﻜﺎﻥ ﺍﻟﻔﺘﺎﺓ‪ ،‬ﻭﳌﺎ ﺭﺁﻫﺎ ﺍﻷﻣﲑ ﻗﺎﻝ ﳍﺎ‪:‬‬
‫ﻭﺍﺵ ﺑﻴﻪ)‪ (3‬ﻭﺟﻬﻚ ﻭﻻﹼ)‪ (4‬ﻫﻜﺬﺍ؟ ﻓﻘﺎﻟﺖ ﻟﻪ‪ :‬ﻣﻦ ﻣﺎﻛﻢ‪،‬ﰒﹼ ﺳﺄﳍﺎ ﻻﻩ ﺷﻴﻨﱵ ﻫﻜﺬﺍ ‪,‬ﻗﺎﻟﺖ ﻟﻪ ﻣﻦ‬
‫ﻣﺎﻛﻠﺘﻜﻢ ﻭﻣﺎ ﻳﺴﻤ‪‬ﲏ ﻏﲑ ﳊﻢ ﻟﻐﺰﺍﻝ‪ ,‬ﻭﺃﻣﺮﺗﻪ ﺑﺬﺑﺢ ﺍﻟﻐﺰﺍﻝ ﻭﳌﺎ ﲰﻊ ﺍﻟﻐﺰﺍﻝ ﺑﺬﻟﻚ ﺃﺳﺮﻉ ﺇﱃ ﺍﻟﺒﺌﺮ‬
‫ﻭﺃﺧﺬ ﻳﻘﻮﻝ ﻷﺧﺘﻪ‪ :‬ﳌﹼﺎﺱ)‪ (5‬ﻣﻀﺎﺕ)‪ (6‬ﻭﻟﱪﻡ ﻏﻼﺕ)‪ (7‬ﻓﻘﺎﻟﺖ ﻟﻪ‪:‬‬
‫ﺭﺍﱐ ﺟﺒﺖ ﺣﺴﻦ ﻭﺍﳊﺴﲔ ﻭﺍﻟﻄﹼﺎﻣﺔ ﺭﺍﳛﺔ ﺗﺎﻛﻠﻬﻢ‪ ،‬ﻓﺴﻤﻌﻬﺎ ﺷﻴﺦ ﻓﺄﺳﺮﻉ ﺇﱃ ﺍﻷﻣﲑ ﻭﺃﺧﱪﻩ‬
‫ﺑﺬﻟﻚ‪ ،‬ﻓﻬﺮﻭﻝ ﺍﻷﻣﲑ ﻹﺧﺮﺍﺝ ﺯﻭﺟﺘﻪ ﻣﻦ ﺍﻟﺒﺌﺮ‪ ،‬ﻭﻓﻬﻢ ﻣﻨﻬﺎ ﺣﻘﻴﻘﺔ ﺍﻟﻌﻮﺭﺓ‪ ،‬ﻓﻘﺎﻡ ﺑﺘﻘﻄﻴﻌﻬﺎ‬
‫ﻭﻭﺿﻌﻬﺎ ﰲ ﻗﻔﺔ ﻭﺃﺭﺳﻠﻬﺎ ﺇﱃ ﺃﻣﻬﺎ‪ ،‬ﻓﻔﺮﺣﺖ ﺍﻷﻡ ﺑﺎﻟﻘﻔﺔ ﻭﻗﺎﻟﺖ‪ :‬ﻳﺎ ﺳﻌﺪﻱ ﺑﺒﻨﱵ ﺗﺰﻭﺟﺖ‬
‫ﻭﻋﺎﺩﺕ ﺗﺼﻴ‪‬ﺮﱄ ﺍﻟﻠﹼﺤﻢ‪ ،‬ﻭﻣﺎ ﺇﻥ ﻓﺘﺤﺖ ﺍﻟﻘﻔﺔ ﺣﱴ ﻭﺟﺪﺕ ﺭﺃﺱ ﺍﺑﻨﺘﻬﺎ ﻓﻤﺎﺗﺖ ﺣﺴﺮﺓ ﻋﻠﻴﻬﺎ‪.‬‬

‫)‪ (2‬ﺃﺭﻭﺍﺣﻲ ﻭﺭﻳﻠﻲ‪ :‬ﺗﻌﺎﱄ ﻋﻠﻤﻴﲏ‪.‬‬

‫)‪ (3‬ﻭﺍﺵ ﺑﻴﻪ‪ :‬ﻣﺎﺫﺍ ﺑﻪ‪.‬‬
‫)‪ (4‬ﻭﻻﹼ‪ :‬ﺻﺎﺭ ﺃﻭ ﺃﺻﺒﺢ‪.‬‬
‫)‪ (5‬ﳌﹼﺎﺱ‪ :‬ﺍﳋﻨﺎﺟﺮ ﺃﻭ ﺍﻟﺴﻜﺎﻛﲔ ﲨﻊ ﺳﻜﲔ‪.‬‬
‫)‪ (6‬ﻣﻀﺎﺕ‪ :‬ﺃﺻﺒﺤﺖ ﺣﺎﺩﺓ‪.‬‬
‫)‪ (7‬ﻟﱪﻡ ﻏﻼﺕ‪ :‬ﺻﺎﺭﺕ ﺍﻟﻘﺪﻭﺭ ﺗﻐﻠﻲ‪.‬‬
‫‪- 177 -‬‬
‫ﻭﻋﺎﺷﺖ ﺍﻟﻔﺘﺎﺓ ﻭﺍﻷﻣﲑ ﻣﻊ ﻭﻟﺪﻳﻬﻤﺎ ﰲ ﺳﻌﺎﺩﺓ ﻭﻓﹸﻚ‪ ‬ﺍﻟﺴﺤﺮ ﻋﻠﻰ ﺃﺧﻴﻬﺎ ﻭﻋﺎﺩ ﺇﱃ ﻃﺒﻴﻌﺘﻪ‪.‬‬

‫ﺍﻟﺮﺍﻭﻱ‪ :‬ﻉ ﳝﻴﻨﺔ‬

‫‪- 178 -‬‬

 ‫‪ -7‬ﺣﺪﻳ‪‬ﺪ ﻣﺪﻳﺪ)‪:(1‬‬
‫ﺣ‪‬ﺎﺟ‪‬ﻴ‪‬ﺘ‪‬ﻚ‪ ‬ﻣﺎ ﺟ‪‬ﻴ‪‬ﺘ‪‬ﻚ‪ ‬ﻋﻠﻰ ﻭﺍﺣﺪ ﺍﻟﺸﻴﺦ ﺃﻧ‪‬ﻮ‪‬ﻯ ﻳﺮ‪‬ﻭﺡ‪ ‬ﻟﻠﺤﺞ‪ ،‬ﻭﻛﺎﻥ ﻋﻨﺪﻩ ﺳﺒﻌﺔ ﺃﻭﻻﺩ ﺃﺭﺍﺩﻭﺍ‬
‫‪‬‬
‫ﺍﻟﺬﻫﺎﺏ ﻣﻌﻪ ﻓﺎﺻﻄﺤﺒﻬﻢ‪ ،‬ﻭﺃﺛﻨﺎﺀ ﺳﲑﻫﻢ ﺗﻌﺐ ﺍﻟﻮﻟﺪ ﺍﻷﺻﻐﺮ ﻭﻗﺎﻝ ﻷﺑﻴﻪ‪ :‬ﻳﺎ ﺃﹸﺑ‪‬ﻲ‪ ‬ﻋﻴﻴ‪‬ﺖ‬
‫ﻗﺎﻝ ﻟﻪ ﺍﻟﺸﻴﺦ‪ :‬ﻭ‪‬ﺍﺵ‪ ‬ﻧ‪‬ﺪ‪‬ﻳﺮ‪‬ﻟﹶﻚ‪‬؟ ﻗﺎﻝ ﺍﻟﻮﻟﺪ‪ :‬ﺃﹶﺑ‪‬ﻨﹺﻴﻠ‪‬ﻲ ﻗﹸﺮ‪‬ﺑﹺﻲ‪ ‬ﻃﹸﻮﺑﺔ ﻭ‪‬ﺭ‪‬ﻭﺡ‪ ‬ﻭﺧﻠﱢﻴﲏ‪.‬‬
‫ﻓﺠﺎﺀﺕ ﺍﻟﻐ‪‬ﻮﻟﹶﺔ ﻭﺃﻛﻠﺘﻪ‪ ،‬ﻭﺑﻴﻨﻤﺎ ﻫﻢ ﻳﻮﺍﺻﻠﻮﻥ ﺍﳌﺴﲑ ﺗﻌﺐ ﺍﻟﻮﻟﺪ ﺍﻟﺜﺎﱐ ﻓﻘﺎﻝ ﻷﺑﻴﻪ‪ :‬ﻳﺎ ﺃﹸﺑ‪‬ﻲ‪ ‬ﻋ‪‬ﻴ‪‬ﻴﺖ‪‬‬
‫ﺃﹶﺑ‪‬ﻨﹺﻴﻠ‪‬ﻲ ﻗﹸﺮ‪‬ﺑﹺﻲ ﻛﹶﻠﹾﺨ‪‬ﺔ‪ ‬ﻭﺭ‪‬ﻭﺡ‪ ‬ﻭﺧﻠﱢﻴﲏ ﻓﺠﺎﺀﺕ ﺍﻟﻐ‪‬ﻮﻟﹶﺔ ﻭﺃﻛﻠﺘﻪ ﻭﻫﻜﺬﺍ‪...‬‬
‫ﺣﱴ ﺗﻌﺐ ﺍﻟﻮﻟﺪ ﺍﻟﺴﺎﺑﻊ ﻓﻘﺎﻝ‪ :‬ﻳﺎ ﺃﹸﺑ‪‬ﺎﻱ‪ ‬ﻋ‪‬ﻴ‪‬ﻴﺖ‪ ‬ﺩﻳﺮﱄ ﻗﹸﺮ‪‬ﺑﹺﻲ ﺣﺪﻳﺪ ﻭﺑﺎﺑﻮ ﺣﺪﻳﺪ ﻭﺭﻭﺡ ﻭﺧﻠﻴﲏ‬
‫ﻓﺠﺎﺀﺕ ﺍﻟﻐﻮﻟﺔ ﻛﺎﻟﻌﺎﺩﺓ ﻟﺘﺄﻛﻞ ﻣﺎ ﲡﺪﻩ ﻟﻜﻨ‪‬ﻬﺎ ﱂ ﺗﺴﺘﻄﻊ ﻷﻥﹼ ﺍﻟﻘﺮﰊ ﻛﺎﻥ ﺣﺪﻳﺪﺍ‪ ،‬ﻓﺄﺣﻀﺮﺕ‬
‫ﺃﻏﺮﺍﺿﻬﺎ ﻭﺳﻜﻨﺖ ﻗﺒﺎﻟﺘﻪ ﻭﻛﺎﻧﺖ ﻛﻠﻤﺎ ﺗﺬﻫﺐ ﺇﱃ ﺍﻟﻌﲔ ﺗﻨﺎﺩﻳﻪ‪ :‬ﻳﺎ ﺣﺪﻳﺪ ﻣﺪﻳﺪ ﻫﻴ‪‬ﺎ ﺍﺭﻭﺣﻮﺍ‬
‫ﳕﻼﻭ‪ ،‬ﻓﻴﻘﻮﻝ ﳍﺎ‪ :‬ﻳﻠﻌﻦ ﺃﻣﻴﻤﺘﻚ ﺃﻧﺎ ﺭﺣﺖ ﻣﻠﻴﺖ ﻭﺟﻴﺖ‪.‬‬
‫ﻓﺘﺬﻫﺐ ﺍﻟﻐﻮﻟﺔ ﺇﱃ ﺍﻟﻌﲔ ﻟﻴﺨﺮﺝ ﺣﺪﻳﺪ ﻓﻴﺄﻛﻞ ﻭﻳﺸﺮﺏ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﻳﺮﺍﻫﺎ ﻋﺎﺋﺪﺓ ﻣﻦ ﺍﻟﻌﲔ ﳝﺘﻄﻲ‬
‫ﺍﻟﺪ‪‬ﺍﺑﺔ ﻟﻴﻐﻴﻀﻬﺎ ﰒ ﻳﺴﺮﻉ ﺇﱃ ﻛﻮﺧﻪ‪...‬‬
‫ﻭﻫﻜﺬﺍ ﻭﰲ ﻛﻞ ﻣﺮﺓ ﺣﱴ ﻣﻠﹼﺖ ﻣﻨﻪ ﺍﻟﻐﻮﻟﺔ‪ ،‬ﻓﺬﻫﺒﺖ ﺇﱃ ﺍﳌﺪﺑ‪‬ﺮ‪ ‬ﻟﺘﺴﺘﺸﲑﻩ‪ ،‬ﻓﺄﺭﺷﺪﻫﺎ ﺑﺄﻥ ﺗﻀﻊ‬
‫ﻟﻪ ﻋ‪‬ﻠﹾﻚ‪ ‬ﺍﻟﺼﻨﻮﺑﺮ‪ ‬ﻓﻮﻕ ﻇﻬﺮ ﺍﻟﺪ‪‬ﺍﺑﺔ‪ ،‬ﻓﻔﻌﻠﺖ ﺍﻟﻐﻮﻟﺔ ﲟﺎ ﺃﺷﺎﺭ ﻋﻠﻴﻬﺎ ﻭﺍﺩﻋﺖ ﺃ‪‬ﺎ ﺫﺍﻫﺒﺔ ﺇﱃ ﺍﻟﻌﲔ‪،‬‬
‫ﻓﺨﺮﺝ ﺣﺪﻳﺪ ﻣﺪﻳﺪ ﻟﻴﺄﻛﻞ ﻭﻳﺸﺮﺏ ﻭﳌﺎ ﺭﺁﻫﺎ ﻋﺎﺋﺪﺓ ﺻﻌﺪ ﻋﻠﻰ ﻇﻬﺮ ﺍﻟﺪﺍﺑﺔ‪ ،‬ﻭﳌﺎ ﺍﻗﺘﺮﺑﺖ ﻣﻨﻪ‬
‫ﺍﻟﻐﻮﻟﺔ ﻫﻢ‪ ‬ﺑﺎﻟﻔﺮﺍﺭ ﻟﻜﻨﻪ ﱂ ﻳﺴﺘﻄﻊ‪ ،‬ﻓﺄﻣﺴﻜﺖ ﺑﻪ ﻭﺃﺭﺍﺩﺕ ﺃﻛﻠﻪ ﻓﻘﺎﻝ ﳍﺎ‪:‬‬
‫ﻭﺍﺵ ﺗﺎﻛﻠﻲ ﻓﻴ‪‬ﺎ ﺷﻮﰲ ﻛﻴﻔﺎﻩ ﺭﺍﱐ ﻣﺸﻴﺎﻥ‪ ‬ﻭﻛﹾﻠﱢﻴﲏ ﻣﻠﻴﺢ ﺑﺎﻩ ﻧﺴﻤﺎﻥ‪ ،‬ﻓﺄﺧﺬﺗﻪ ﺇﱃ ﺑﻴﺘﻬﺎ ﻭﻭﺿﻌﺘﻪ‬
‫‪‬‬
‫ﻭﳌﺎ ﺍﻧﺘﻬﻰ ﻣﻦ ﺃﻛﻠﻪ ﻗﺎﻟﺖ ﻟﻪ‪ :‬ﺃﺳ‪‬ﻤﻨ‪‬ﺖ‪ ‬ﻭﻻﱠ ﻣ‪‬ﺰ‪‬ﺍﻝﹾ‪ ،‬ﻓﺄﺧﺮﺝ ﳍﺎ ﺍﻟﺼ‪‬ﻨ‪‬ﺎﺭﺓ‬ ‫‪‬‬
‫ﰲ ﻛﻮﰲ ﺍﳋﺮ‪‬ﻭﺏ‪‬‬

‫)‪ (1‬ﺣﺪﻳﺪ ﻣﺪﻳﺪ‪ :‬ﺣﺪﻳﺪ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﺍﳊﺪﻳﺪ‪ ،‬ﺃﻣﺎ ﻣﺪﻳﺪ ﻓﺘﻌﲏ ﻃﻮﻳﻞ ﺍﻟﻌﻤﺮ‪.‬‬
‫‪ ‬ﻋﻴﻴﺖ‪ :‬ﺗﻌﺒﺖ‪.‬‬
‫‪ ‬ﻗﺮﰊ‪ :‬ﻛﻮﺥ‪.‬‬
‫‪ ‬ﻛﻠﺨﺔ‪ :‬ﻧﺒﺎﺕ ﺷﺎﺋﻊ ﰲ ﺍﳌﻨﻄﻘﺔ ﺗﺘﻮﺳﻂ ﺃﻭﺭﺍﻗﻪ ﺍﻟﻄﻮﻳﻠﺔ ﻋﺼﺎ ﳎﻮﻓﺔ ﻭﻫﺸﺔ‪.‬‬
‫‪ ‬ﺍﳌﺪﺑﺮ‪ :‬ﺍﻟﺮﺟﻞ ﺍﳊﻜﻴﻢ‪.‬‬
‫‪ ‬ﻋﻠﻚ ﺍﻟﺼﻨﻮﺑﺮ‪ :‬ﻣﺎﺩﺓ ﺻﻤﻐﻴﺔ ﺗﻔﺮﺯﻫﺎ ﺷﺠﺮﺓ ﺍﻟﺼﻨﻮﺑﺮ‪.‬‬
‫‪ ‬ﺭﺍﱐ ﻣﺸﻴﺎﻥ‪ :‬ﻟﺴﺖ ﲰﻴﻨﺎ‬
‫‪ ‬ﻛﻮﰲ ﺍﳋﺮﻭﺏ‪ :‬ﺟﺮﺓ ﻛﺒﲑﺓ ﻳﺼﻞ ﺍﺭﺗﻔﺎﻋﻬﺎ ﺣﱴ ﺍﳌﺘﺮﻳﻦ ﲣﺰﻥ ﻓﻴﻬﺎ ﺍﳊﺒﻮﺏ ﻭﻣﻨﻬﺎ ﺍﳋﺮﻭﺏ‪.‬‬
‫‪ ‬ﺻﻨﺎﺭﺓ‪ :‬ﻣﻐﺰﻝ ﺻﻐﲑ ﻳﺘﺮﻛﺐ ﻣﻦ ﻗﻄﻌﺘﲔ ﺇﺣﺪﺍﳘﺎ ﺩﺍﺋﺮﻳﺔ ﺍﻟﺸﻜﻞ ﻳﺘﻮﺳﻄﻬﺎ ﳏﻮﺭ ﻣﺪﺑﺐ‪.‬‬
‫‪- 179 -‬‬
‫ﻓﻮﺿﻌﺘﻪ ﻣﺮﺓ ﺃﺧﺮﻯ ﰲ ﻛﻮﰲ ﺍﻟﺮﻭﻳﻨﺔ‪ ،‬ﻭﳌﺎ ﺟﺎﺀﺕ ﺗﺘﻔﻘﹼﺪﻩ ﺃﺧﺮﺝ ﳍﺎ ﺍﳌﻐﺰﻝ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻣﺰﺍﻝ‬
‫ﺷﻮﻳﺔ ﻭﻫﻜﺬﺍ‪...‬‬
‫ﺣﱴ ﻭﺻﻠﺖ ﺇﱃ ﺍﻟﻜﻮﰲ ﺍﻟﺴ‪‬ﺎﺑﻊ ﺍﻟﺬﻱ ﳛﺘﻮﻱ ﻋﻠﻰ ﺍﻟﻜﺮﻣﻮﺱ‪ ،‬ﻭﳌﺎ ﺟﺎﺀﺕ ﻟﺮﺅﻳﺘﻪ‪ ،‬ﺃﺧﺮﺝ ﳍﺎ‬
‫ﻓﻘﺎﻟﺖ ﻟﻪ‪ :‬ﺭﺍﱐ ﻧﺸﻮﻑ ﻓﻴﻚ ﺗﺼﻠﺢ ﻟﻠﻤﺎﻛﻠﺔ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻛﻴﻔﺎﻩ ﺗﺎﻛﻠﻴﲏ ﻭﺣﺪﻙ‪،‬‬ ‫‪‬‬
‫ﺍﻟﺮﺯﺍﻣﺔ‬
‫ﻭﺧﻠﹼﻲ ﺑﻨﺘﻚ ﺍﻟﻌﻮﺭﺓ ﺗﺬﲝﲏ‪ ،‬ﻓﺬﻫﺒﺖ ﺍﻟﻐﻮﻟﺔ ﻟﺘﻌﺰﻡ ﺃﻗﺎﺭ‪‬ﺎ ﻭﺗﺮﻛﺖ‬ ‫‪‬‬
‫ﺃﻋﺮﺿﻲ ﺷﻴﺤﺘﻚ ﻭﺭﳛﺘﻚ‬
‫ﺍﻟﻌﻮﺭﺓ ﻟﺘﺬﺑﺢ ﺣﺪ‪‬ﻳﺪ ﻣﺪﻳﺪ ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻭﺍﺵ ﻧﻘﻮﻟﻚ‪ ،‬ﺭﺍﱐ ﺷﺎﰐ ﻧﺎﻛﻞ ﺍﻟﻘﻠﻴﺔ ﻗﺒﻞ ﻣﺎ ﺗﺬﲝﻴﲏ‪ ،‬ﻓﻘﺎﻣﺖ‬
‫ﺍﻟﺒﻨﺖ ﻭﻗﹾﻼﺕ ﺍﻟﻘﻠﹾﻴﺔ‪.‬‬
‫ﻭﳘﺎ ﻳﺄﻛﻼﻥ ﻗﺎﻝ ﳍﺎ‪ :‬ﺇﻻ ﺭﺍﻛﻲ ﻓﺤﻠﺔ ﻃﻴﺸﻲ ﺍﳊﺒ‪‬ﺔ ﻓﺎﻟﺴﻤ‪‬ﺎ ﻭﺃﻟﻘﻔﻴﻬﺎ‪ ،‬ﻓﻔﻌﻠﺖ ﺍﻟﻌﻮﺭﺓ ﺫﻟﻚ‬
‫ﻭﺭﻓﻌﺖ ﺭﺃﺳﻬﺎ ﻟﺘﻠﻘﻒ ﺍﳊﺒﺔ ﻓﺄﻣﺴﻚ ﺑﺎﻟﺴﻜﲔ ﻭﺫﲝﻬﺎ ﻭﻗﻄﹼﻌﻬﺎ ﻭﻭﺿﻊ ﺭﺃﺳﻬﺎ ﰲ ﺍﻟﺘﻠﹼﻴﺲ‪ ،‬ﰒ‬
‫ﻟﺒﺲ ﻟﺒﺎﺳﻬﺎ ﻭﺃﻛﺘﺤﻞ ﻭﺷﺪ‪ ‬ﺭﺃﺳﻪ ﲟﻨﺪﻳﻞ‪ ،‬ﻭﺃﺧﺬ ﻳﻄﻬﻲ ﺍﻟﻄﻌﺎﻡ‪ ،‬ﻭﳌﺎ ﻋﺎﺩﺕ ﺍﻟﻐﻮﻟﺔ ﺑﻀﻴﻮﻓﻬﺎ ﻗﺪ‪‬ﻡ‬
‫ﳍﻢ ﺍﻟﻄﻌﺎﻡ ﻭﻗﺎﻟﺖ ﺍﻟﻐﻮﻟﺔ‪ :‬ﺃﺭ‪‬ﻭﺍﺣﻲ ﻳﺎ ﺃﺑ‪‬ﻨ‪‬ﻴ‪‬ﱵ ﺗﺎﻛﻠﻲ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻣﻨﻴﺶ ﺷﺎﺗﻴﺔ‪ ‬ﺑﺼﺢ ﺃﻋﻄﻴﻠﻲ‬
‫ﺍﳌﻔﺘﺎﺡ ﻧﺘﺎﻉ‪ ‬ﻗﺮﰊ ﺣﺪﻳﺪ ﺍﺭﻭﺡ ﻧﺸﻮﻓﻮﺍ‪.‬‬
‫ﻓﺄﻋﻄﺖ ﺍﻟﻐﻮﻟﺔ ﺍﳌﻔﺘﺎﺡ ﻟﻪ ﻭﺫﻫﺐ ﺇﱃ ﺍﻟﻜﻮﺥ ﻭﺃﻏﻠﻖ ﺍﻟﺒﺎﺏ ﻋﻠﻰ ﻧﻔﺴﻪ‪ ،‬ﻭﺭﺍﺡ ﻳﻨﺎﺩﻱ ﻭﻳﻘﻮﻝ‪:‬‬
‫ﺗﻴﺲ‪ ‬ﺗﻴﺲ ﺭﺍﺱ ﺍﻟﻌﻮﺭﺓ ﰲ ﺍﻟﺘﻠﹼﻴﺲ‪ ،‬ﻓﻠﻤﺎ ﲰﻌﺘﻪ ﺍﻟﻐﻮﻟﺔ ﺃﺳﺮﻋﺖ ﺇﱃ ﺍﻟﺘﻠﻴﺲ ﻭﻧﻈﺮﺕ ﺇﱃ ﺩﺍﺧﻠﻪ‬
‫ﻓﻮﺟﺪﺕ ﺭﺃﺱ ﺍﺑﻨﺘﻬﺎ‪ ،‬ﻓﺒﺪﺃﺕ ﺗﻨﻮﺡ ﻭﺗﻘﻮﻝ‪ :‬ﺍﻟﻠﹼﻲ ﺍﻛﻼ ﻣﻌﺎﻳﺎ ﻗﻄﻴﻌﺔ ﻳﺒﻜﻲ ﻣﻌﺎﻳﺎ ﺩﻣﻴﻌﺔ‪.‬‬
‫ﻓﻘﺎﻝ ﳍﺎ ﺍﻟﻜﻠﺐ‪ :‬ﺃﻧﺎ ﻣﺎ ﻛﻠﻴﺖ ﺍﻟﻘﺤﻘﻮﺡ‪ ،‬ﻣﺎ ﻧﺒﻜﻲ ﻣﺎ ﻧﻮﺡ‪.‬‬
‫ﻀﺮ‪ ‬ﻋﻴ‪‬ﻨﹺﻴ‪‬ﺎ‪.‬‬
‫ﻭﻗﺎﻟﺖ ﳍﺎ ﺍﻟﻘﻄﹼﺔ‪ :‬ﺃﻧﺎ ﻣﺎ ﻛﻠﻴﺖ ﺍﻟﺮﻳ‪‬ﺔ ﻣﺎ ﻧﺒﻜﻲ ﻣﺎ ﺍﳔ ‪‬‬

‫‪ ‬ﺍﻟﺮﻭﻳﻨﺔ‪ :‬ﺃﻛﻠﺔ ﺷﻌﺒﻴﺔ ﺗﺼﻨﻊ ﻣﻦ ﺍﻟﻘﻤﺢ ﺍﶈﻤﺺ ﰒ ﻳﻄﺤﻦ‪ ،‬ﻭﻳﻀﺎﻑ ﺇﻟﻴﻬﺎ ﺍﻟﺴﻜﺮ ﻭﺯﻳﺖ ﺍﻟﺰﻳﺘﻮﻥ‪.‬‬
‫‪ ‬ﺍﻟﻜﺮﻣﻮﺱ‪ :‬ﺍﻟﺘﲔ ﺍ‪‬ﻔﻒ‪.‬‬
‫‪ ‬ﺍﻟﺮﺯﺍﻣﺔ‪ :‬ﻗﻄﻌﺔ ﺧﺸﺒﻴﺔ ﺍﺳﻄﻮﺍﻧﻴﺔ ﺍﻟﺸﻜﻞ ﳍﺎ ﻣﻘﺒﺾ ﺗﺴﺘﻌﻤﻞ ﻗﺪﳝﺎ ﻟﺪﻕ ﺍﳊﻠﻔﺎﺀ ﻭﳍﺎ ﻣﻬﺎﻡ ﺃﺧﺮﻯ‪.‬‬
‫‪ ‬ﺃﻋﺮﺿﻲ ﺷﻴﺤﺘﻚ ﻭﺭﳛﺘﻚ‪ :‬ﺍﺩﻋﻲ )ﺍﻟﺪﻋﻮﺓ( ﺃﻫﻠﻚ ﻭﻣﻦ ﺗﻌﺮﻓﲔ ﻛﺎﻓﺔ‪.‬‬
‫‪ ‬ﺃﻟﻘﻔﻴﻬﺎ‪ :‬ﺍﻣﺴﻜﻴﻬﺎ ﺑﺴﺮﻋﺔ‪.‬‬
‫‪ ‬ﺍﻟﺘﻠﻴﺲ‪ :‬ﻛﻴﺲ ﻛﺒﲑ ﻳﺼﻨﻊ ﻣﻦ ﺷﻌﺮ ﺍﳌﺎﻋﺰ‪.‬‬
‫‪ ‬ﻣﻨﻴﺶ ﺷﺎﺗﻴﺔ‪ :‬ﻟﻴﺴﺖ ﱄ ﺍﻟﺮﻏﺒﺔ ﰲ ﺍﻷﻛﻞ‪.‬‬
‫‪ ‬ﻧﺘﺎﻉ‪ :‬ﻣﻠﻚ ﻣﺜﻞ ﻗﻮﻟﻨﺎ ﻧﺘﺎﻋﻲ ﺃﻱ ﻣﻠﻜﻲ‪.‬‬
‫‪ ‬ﺗﻴﺲ‪ :‬ﺗﻌﲏ ﻋﻨﺪ ﺃﻫﻞ ﺍﳌﻨﻄﻘﺔﺍﹸﻧﻈﺮ‪.‬‬
‫‪ ‬ﺍﻟﻘﺤﻘﻮﺡ‪ :‬ﺃﺳﻔﻞ ﺍﻟﻈﻬﺮ‪.‬‬
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‫ﻭﺗﺬﻫﺐ ﺇﱃ ﺍﳌﺪﺑﺮ ﻣﺮﺓ ﺃﺧﺮﻯ ﻃﺎﻟﺒﺔ ﺍﳌﺴﺎﻋﺪﺓ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﺭﻭﺣﻲ ﺃﺣﻄﱯ ﻭﺣﻮﻃﻲ ﺑﻴﻪ‬
‫ﺍﻟﻘﺮﰊ ﻭﺷﻌﻠﻲ ﻓﻴﻪ ﺍﻟﻨﺎﺭ‪ ،‬ﻓﺮﺍﺣﺖ ﺍﻟﻐﻮﻟﺔ ﻟﺘﺤﺘﻄﺐ ﻭﺃﺣﺎﻃﺖ ﺍﻟﻜﻮﺥ ﺑﺎﳊﻄﺐ‪ ،‬ﻭﺑﺎﳌﻘﺎﺑﻞ ﻛﺎﻥ‬
‫ﺣﺪﻳﺪ ﻣﺪﻳﺪ ﳛﻔﺮ ﰲ ﺑﺌﺮ‪ ،‬ﻭﺟﺎﺀ ﺍﻟﻴﻮﻡ ﺍﻟﺬﻱ ﺃﺷﻌﺖ ﻓﻴﻪ ﺍﻟﻐﻮﻟﺔ ﺍﻟﻨﺎﺭ ﻓﻠﻤﺎ ﻛﺎﻥ ﻳﺸﻌﺮ ﺑﺎﳊﺮ‪ ‬ﻳﺪﺧﻞ‬
‫ﰲ ﺍﳌﺎﺀ ﻟﻴﱪﺩ‪ ،‬ﻭﺇﺫﺍ ﺷﻌﺮ ﺑﺎﻟﱪﺩ ﳜﺮﺝ ﻟﻴﺘﺪﻓﺄ‪ ،‬ﻓﻤﻠﹼﺖ ﺍﻟﻐﻮﻟﺔ ﻫﺬﺍ ﺍﳊﺎﻝ ﻭﺭﻣﺖ ﺑﻨﻔﺴﻬﺎ ﰲ ﺍﻟﻨﺎﺭ‪ ،‬ﻭﳌﺎ‬
‫ﺑﺮﺩ ﺍﳊﺪﻳﺪ ﺧﺮﺝ ﺣﺪﻳﺪ ﻣﺪﻳﺪ ﻣﻦ ﺍﻟﻘﺮﰊ ﻭﻋﺎﺩ ﺇﱃ ﺩﻳﺎﺭﻩ‪.‬‬
‫ﻫﺬﺍ ﻣﺎ ﲰﻌﻨﺎ ﻭﻫﺬﺍ ﻣﺎ ﻗﻠﻨﺎ ﻭﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ )ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ(‪.‬‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪:‬ﺵ ﻓﻄﻴﻤﺔ‬

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 ‫‪ -8‬ﺧﻄﹼﺎﻑ ﺍﻟﻌﺮﺍﺋﺲ‪:‬‬
‫ﺣﺎﺟﻴﺘﻚ ﻣﺎ ﺟﻴﺘﻚ‪ ،‬ﳛﻜﻰ ﺃﻥ ﺷﺎﺑﺎ ﺗﻘﻴ‪‬ﺎ ﻋﺎﻫﺪ ﺍﷲ ﺃﻥ ﻻ ﻳﺄﻛﻞ ﺇﻻ ﻣﻦ ﺍﳊﻼﻝ‪ ،‬ﻭﰲ ﻳﻮﻡ ﻣﻦ‬
‫ﺍﻷﻳﺎﻡ ﻛﺎﻥ ﳝﺸﻲ ﰲ ﺃﺭﺟﺎﺀ ﺑﺴﺘﺎﻥ‪ ،‬ﻓﻠﻤﺢ ﺳﺎﻗﻴﺔ ﻭﺍﲡﻪ ﺻﻮ‪‬ﺎ ﻟﻴﺘﻮﺿﺄ ﻟﻠﺼﻼﺓ‪ ،‬ﻓﻮﺟﺪ ﺣﺒﺔ ﺭﻣﺎﻥ‬
‫ﲜﻮﺍﺭ ﺍﻟﺴﺎﻗﻴﺔ‪ ،‬ﻓﺤﻤﻠﻬﺎ ﰒ ﺍﺷﺘﻬﺖ ﻧﻔﺴﻪ ﺃﻛﻠﻬﺎ ﻓﻔﻌﻞ ﻭﺑﻌﺪ ﺍﻻﻧﺘﻬﺎﺀ ﻣﻨﻬﺎ ﺗﺬﻛﺮ ﻋﻬﺪﻩ ﻣﻊ ﺍﷲ‬
‫ﻭﻧﺪﻡ ﻋﻠﻰ ﺃﻛﻠﻪ ﺍﻟﺮﻣﺎﻧﺔ ﰒ ﻗﺎﻝ ﰲ ﻧﻔﺴﻪ‪:‬‬
‫ﻣﻮﻻﻫﺎ‪ ،‬ﻓﺴﺎﺭ ﻋﻜﺲ ﺍﲡﺎﻩ ﺍﳌﺎﺀ‬ ‫‪‬‬
‫ﻻﺯﻡ ﻧﻌﺮﻑ ﻣﻨﲔ ﺟﺎﺕ ﻫﺬﻱ ﺍﻟﺮﻣﺎﻧﺔ ﺑﺎﻩ ﺍﻧ‪‬ﺨ‪‬ﻠﱠﺺ‪‬‬
‫ﻗﺎﺻﺪﺍ ﻣﻨﺒﻊ ﺍﻟﺴﺎﻗﻴﺔ ﻟﻴﻌﺮﻑ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﲪﻠﺖ ﻣﻨﻪ ﺍﻟﺮﻣﺎﻧﺔ‪ ،‬ﺍﺳﺘﻤﺮ ﰲ ﺳﲑﻩ ﻣﻊ ﳎﺮﻯ ﺍﻟﺴﺎﻗﻴﺔ‬
‫ﺣﺘ‪‬ﻰ ﻭﺻﻞ ﺇﱃ ﺑﺴﺘﺎﻥ ﻣﻠﻲﺀ ﺑﺄﺷﺠﺎﺭ ﺍﻟﺮ‪‬ﻣﺎﻥ ﻭﲝﺚ ﻋﻦ ﺻﺎﺣﺒﻪ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﻭﺟﺪﻩ ﺣﻜﺎ ﻟﻪ ﺍﻟﻘﺼﺔ‬
‫ﻭﻃﻠﺐ ﻣﻨﻪ ﺃﻥ ﻳﺴﺎﳏﻪ ﻓﺘﻌﺠﺐ ﺻﺎﺣﺐ ﺍﻟﺒﺴﺘﺎﻥ ﻣﻦ ﺇﳝﺎﻥ ﻫﺬﺍ ﺍﻟﺸﺎﺏ ﻭﺃﹸﻋﺠﺐ ﺑﻪ ﺃﻳ‪‬ﻤﺎ ﺇﻋﺠﺎﺏ‪،‬‬
‫ﻭﻗﺎﻝ ﰲ ﻧﻔﺴﻪ‪ :‬ﻣﺎﻧﻠﻘﺎﺵ‪  ‬ﺧﲑ ﻣﻨ‪‬ﻮﺍ ﺍﻧﺰﻭﺟﻮﺍ ﻟﺒﻨﻴﱵ‪.‬‬
‫‪‬‬
‫ﻭﻗﺪ ﻛﺎﻧﺖ ﺍﺑﻨﺘﻪ ﻓﺎﺋﻘﺔ ﺍﳉﻤﺎﻝ ﻓﻘﺎﻝ ﻟﻪ‪ :‬ﺑﺎﺵ ﻧﺴﻤﺤﻠﻚ ﻻﺯﻡ ﺗﺰﻭ‪‬ﺝ ﺑﻨﱵ ﺍﻟﻄﺮﺷﺔ‬
‫ﻭﺍﻟﻌﻤﻴﺔ‪ ‬ﻭﺍﻟﻜﺤﻠﺔ‪ ،‬ﻭﻷﻥ ﺍﻟﺮﺟﻞ ﻛﺎﻥ ﺻﺎﺩﻕ ﺍﻟﻨﻴﺔ ﰲ ﺗﻮﺑﺘﻪ ﺗﻘﺒﻞ ﺍﻷﻣﺮ ﻭﺭﺿﻲ ﺑﺎﻟﺰﻭﺍﺝ‪.‬‬
‫ﻭﻗﺪ ﺍﺷﺘﺮﻁ ﺻﺎﺣﺐ ﺍﻟﺒﺴﺘﺎﻥ ﺃﻥ ﻻ ﻳﺘﻜﻠﻢ ﻣﻌﻬﺎ ﻭﻻ ﻳﺮﻯ ﻭﺟﻬﻬﺎ‪ ،‬ﻭﺇﺫﺍ ﺟﺎﺀﻩ ﺿﻴﻒ ﻻ‬
‫ﻳﺪﺧﻠﻪ ﻋﻠﻴﻬﺎ ﺃﺧﺬ ﺍﻟﺮﺟﻞ ﺯﻭﺟﺘﻪ ﺇﱃ ﺍﳌﻨﺰﻝ ﻭﻗﺺ ﻷﻣﻪ ﺣﻜﺎﻳﺘﻪ ﻣﻌﻬﺎ‪ ،‬ﻭﻗﺎﻡ ﺑﻮﺿﻌﻬﺎ ﰲ ﺭﻛﻦ ﻣﻦ‬
‫ﺍﳌﻨﺰﻝ ﻣﻦ ﺩﻭﻥ ﺃﻥ ﻳﺮﺍﻫﺎ ﺃﻭ ﻳﺘﻜﻠﻢ ﻣﻌﻬﺎ‪ ،‬ﻭﺃﻭﺻﻰ ﺃﻣ‪‬ﻪ ﺃﻥ ﲢﺴﻦ ﺇﻟﻴﻬﺎ ﻭﺃﻥ ﻻ ﺗﺪﺧﻞ ﺍﻟﻀﻴﻮﻑ‬
‫ﻟﻠﺒﻴﺖ ﺃﺛﻨﺎﺀ ﻏﻴﺎﺑﻪ‪.‬‬
‫ﻭﺑﻌﺪ ﻣﺮﻭﺭ ﺃﻳ‪‬ﺎﻡ ﺟﺎﺀﻫﻢ ﺿﻴﻒ ﻓﺄﺑﺖ ﺍﻷﻡ ﺃﻥ ﺗﺪﺧﻠﻪ ﻭﲪﻠﺖ ﻟﻪ ﺍﻷﻛﻞ ﺇﱃ ﺍﳋﺎﺭﺝ‪ ،‬ﰒ‬
‫ﺩﺧﻠﺖ ﺍﺑﻨﺘﻬﺎ ﻭﺑﻘﻴﺖ ﺗﺘﺴﺎﺀﻝ ﻋﻦ ﺳﺮ ﻫﺎﺗﻪ ﺍﻟﻔﺘﺎﺓ‪ ،‬ﺣﱴ ﻭﺻﻞ ‪‬ﺎ ﺍﻟﻔﻀﻮﻝ ﺇﱃ ﺃﻋﻠﻰ ﻣﺮﺍﺗﺒﻪ‪ ،‬ﺣﻴﺚ‬
‫ﳘﹼﺖ ﺇﻟﻴﻬﺎ ﻭﻧﺰﻋﺖ ﻋﻨﻬﺎ ﺍﻟﺴﺘﺎﺭ ﻓﺸﻬﻘﺖ ﺷﻬﻘﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﺣﱴ ﺃﻥ ﺍﻟﻀﻴﻒ ﲰﻌﻬﺎ ﻓﺪﺧﻞ ﻋﻠﻴﻬﺎ‬
‫ﻭﺍﺧﺘﻄﻒ ﺍﻟﻔﺘﺎﺓ ﻭﺍﺧﺘﻔﻰ‪.‬‬
‫ﻭﺑﻌﺪ ﺃﻳﺎﻡ ﻋﺎﺩ ﺍﻟﺸﺎﺏ ﻓﻠﻢ ﳚﺪ ﺍﻟﻔﺘﺎﺓ ﻓﺴﺄﻝ ﺃﻣﻪ ﻋﻨﻬﺎ ﻓﻘﺎﻟﺖ ﻟﻪ‪ :‬ﺭﺍﻩ ﺧﻄﻔﻬﺎ‪ ‬ﺧﻄﹼﺎﻑ‬
‫ﻟﻌﺮﺍﻳﺲ ﻛﻲ ﻃﺒﻌﺖ‪ ‬ﻋﻠﻴﻬﺎ‪ ،‬ﺑﺼ‪‬ﺢ‪ ‬ﻛﺎﻥ ﺗﺸﻮﻑ ﻣﺎ ﺍﺯﻳﻨﻬﺎ ‪.‬‬

‫‪ ‬ﺍﳔﻠﺺ‪ :‬ﺃﻋﻄﻲ ﺍﻟﺜﻤﻦ‪.‬‬

‫‪ ‬ﻣﻮﻻﻫﺎ‪ :‬ﺻﺎﺣﺒﻬﺎ‬
‫‪ ‬ﻣﺎ ﻧﻠﻘﺎﺵ‪ :‬ﻟﻦ ﺃﺟﺪ‪.‬‬
‫‪ ‬ﺍﻟﻄﺮﺷﺔ‪ :‬ﺍﻟﺼﻤﺎﺀ‪.‬‬
‫‪ ‬ﺍﻟﻌﻤﻴﺔ‪ :‬ﺍﻟﻌﻤﻴﺎﺀ‪.‬‬
‫‪- 182 -‬‬
‫ﻓﻌﺎﺩ ﻋﻠﻰ ﻣﺜﲎ ﻃﺮﻳﻘﻪ ﻟﻠﺒﺤﺚ ﻋﻨﻬﺎ‪ ،‬ﰲ ﻫﺬﺍ ﺍﻟﻮﻗﺖ ﻛﺎﻥ ﺧﻄﹼﺎﻑ ﻟﻌﺮﺍﻳﺲ ﻗﺪ ﺑﺎﻋﻬﺎ ﻟﺘﺎﺟﺮ‬
‫ﻭﻫﺬﺍ ﺍﻟﺘﺎﺟﺮ ﺃﺧﺬﻫﺎ ﺑﺪﻭﺭﻩ ﺇﱃ ﺍﻟﺴﻮﻕ‪ ،‬ﻭﰲ ﺫﻟﻚ ﺍﻟﻴﻮﻡ ﻭﺻﻞ ﺍﻟﺸﺎﺏ ﺇﱃ ﺍﻟﺴﻮﻕ ﺍﳌﻌﻨﻴﺔ ﻭﺑﺪﺃ‬
‫ﻳﺒﺤﺚ ﻋﻨﻬﺎ ﻓﻴﻪ‪ ،‬ﻭﺑﻴﻨﻤﺎ ﻫﻮ ﻛﺬﻟﻚ ﺣﱴ ﳌﺢ ﻓﺮﺳﻬﺎ ﻓﺄﻣﻌﻦ ﺍﻟﻨﻈﺮ ﻓﺈﺫﺍ ﺑﻔﺘﺎﺓ ﲨﻴﻠﺔ ﲡﻠﺲ ﻓﻮﻕ‬
‫ﺯﺭﺑﻴﺔ‪ ،‬ﻓﻌﺮﻓﻬﺎ ﻣﻦ ﺃﻭﺻﺎﻓﻬﺎ ﺍﻟﱵ ﺃﺧﱪﺗﻪ ‪‬ﺎ ﺃﻣﻪ‪.‬‬
‫ﻓﺘﻘﺪﻡ ﻣﻦ ﺍﻟﺘﺎﺟﺮ ﻭﻗﺎﻝ ﻟﻪ‪ :‬ﺑﻘﺪﺍﻩ‪ ‬ﺍﻟﺰﺭﺑﻴﺔ ﻭﻣﺎ ﺣﺎﺷﺖ‪‬؟ ﻓﺄﺟﺎﺑﻪ ﺍﻟﺘﺎﺟﺮ ﲟﺎ ﺳﺄﻝ‪ ،‬ﻭﳌﺎ‬
‫ﻫﻢ‪ ‬ﺍﻟﺸﺎﺏ ﲝﻤﻞ ﻣﺎ ﺍﺷﺘﺮﺍﻩ‪ ،‬ﺃﻋﻄﺎﻩ ﺍﻟﺘﺎﺟﺮ ﺍﻟﻔﺮﺱ ﻭﺍﻟﺰﺭﺑﻴﺔ ﻓﻘﻂ‪ ،‬ﻓﻘﺎﻝ ﺍﻟﺸﺎﺏ‪ :‬ﻣﺎﺗﻔﺎﳘﻨﺎﺵ‬
‫ﻫﻜﺬﺍ!‪ ،‬ﻭﺑﻴﻨﻤﺎ ﳘﺎ ﻳﺘﺨﺎﺻﻤﺎﻥ ﲰﻌﻬﻢ ﺍﳉﺰﺍﺭ ﻓﻀﺎﻋﻒ ﺍﻟﺴﻌﺮ ﻭﺃﺧﺬ ﺍﻟﻔﺮﺱ ﻭﺍﻟﺰﺭﺑﻴﺔ ﻭﻣﻌﻬﻢ ﺍﻟﻔﺘﺎﺓ‬
‫ﻓﺘﺒﻌﻪ ﺍﻟﺸﺎﺏ ﺣﱴ ﻗﺼﺎﺑﺘﻪ‪ ‬ﻭﻗﺎﻝ ﻟﻠﺠﺰﺍﺭ‪ :‬ﺑﻘﺪﺍﻩ ﻫﺬﺍ ﺍﻟﺮﺍﺱ ﻳﺎ ﺑﻮﺭﺍﺱ؟ ﻭﻭﺿﻊ ﻳﺪﻩ ﻋﻠﻰ ﺭﺃﺱ‬
‫ﺍﳉﺰﺍﺭ‪ ،‬ﻓﻘﺒﻞ ﺍﳉﺰﺍﺭ ﺿﻨﺎ ﻣﻨﻪ ﺃﻧﻪ ﻳﻘﺼﺪ ﺭﺃﺱ ﺍﻟﺬﺑﻴﺤﺔ ﺍﻟﱵ ﺃﻣﺎﻣﻪ‪ ،‬ﰲ ﻫﺬﻩ ﺍﻟﻠﺤﻈﺔ ﺍﺧﺮﺝ ﺍﻟﺸﺎﺏ‬
‫ﺳﻜﻴﻨﺎ ﻭﺃﺭﺍﺩ ﺫﺑﺢ ﺍﳉﺰﺍﺭ‪ ،‬ﻓﻨﺎﺩﻯ ﺍﳉﺰﺍﺭ ﺑﺄﻋﻠﻰ ﺻﻮﺗﻪ ﻓﺈﺫﺍ ﺑﺎﻟﻨﺎﺱ ﳎﺘﻤﻌﲔ ﺣﻮﻟﻪ ﻟﺘﻘﺼﻲ ﺍﻷﻣﺮ‪،‬‬
‫ﻭﺑﻌﺪ ﺇﺣﺎﻃﺘﻬﻢ ﺑﻪ ﺃﻋﻄﻮ ﺍﳊﻖ ﻟﻠﺸﺎﺏ ﻣﺎ ﺩﺍﻡ ﺍﳉﺰﺍﺭ ﻗﺪ ﻗﺒﻞ ﻏﲑ ﺃﻥ ﺍﻟﺸﺎﺏ ﱂ ﻳﺘﻨﺎﺯﻝ ﻋﻦ ﺫﺑﺢ‬
‫ﺶ ﻓﻘﺎﻝ ﺍﻟﺸﺎﺏ‪:‬‬‫ﺍﳉﺰﺍﺭ ﻓﻘﺎﻝ ﻟﻪ ﺍﳉﺰﺍﺭ‪ :‬ﻧﻌﻄﻴﻠﻚ ﻭﺍﺵ ﻋﻨﺪﻱ ﰲ ﻫﺬﻱ ﺍﳍﺪ‪‬ﺓ‪ ‬ﻭﻣﺎ ﺗﺬﹾﺑ‪‬ﺤ‪‬ﻨﹺﻴ ‪‬‬
‫ﻧﺪ‪‬ﻱ‪ ‬ﺍﻟﺰﺭﺑﻴﺔ ﻭﻣﺎ ﺣﺎﺷﺖ‪ ،‬ﻓﻘﺒﻞ ﺍﳉﺰﺍﺭ ﺑﺬﻟﻚ ﻭﻋﺎﺩ ﺍﻟﺸﺎﺏ ﺑﺎﻟﻔﺘﺎﺓ ﺇﱃ ﺍﻟﺒﻴﺖ ﻭﺳﺄﻝ ﺃﺑﺎﻫﺎ ﻋﻦ‬
‫ﺳﺒﺐ ﺇﺧﻔﺎﺋﻪ ﳉﻤﺎﻝ ﺍﺑﻨﺘﻪ ﺍﻟﻔﺘﺎﻥ‪ ،‬ﻓﻘﺎﻝ ﻟﻪ‪ :‬ﺑﺎﻩ ﻧﻌﺮﻑ ﺻﺪﻕ ﺍﻟﻨ‪‬ﻴﺔ ﻧﺘﺎﻋﻚ‪ ‬ﻭﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ‪‬‬
‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪ :‬ﺵ ﻓﻄﻴﻤﺔ‬

‫‪ ‬ﺍﺧﻄﻔﻬﺎ‪ :‬ﺍﺧﺘﻄﻔﻬﺎ‬
‫‪ ‬ﻃﺒﻌﺖ‪ :‬ﻛﺸﻔﺖ‪.‬‬
‫‪ ‬ﻣﺎ ﺍﺯﻳﻨﻬﺎ‪ :‬ﻣﺎ ﺃﲨﻠﻬﺎ‪.‬‬
‫‪ ‬ﺑﻘﺪﺍﻩ؟‪ :‬ﻛﻢ ﲦﻨﻬﺎ؟‪.‬‬
‫‪ ‬ﺣﺎﺷﺖ‪ :‬ﲪﻠﺖ‪.‬‬
‫‪ ‬ﻗﺼﺎﺑﺔ‪ :‬ﺩﻛﺎﻥ ﺍﳉﺰﺍﺭ‪.‬‬
‫‪ ‬ﺍﳍﺪﺓ‪ :‬ﺍﳊﻄﺔ‬
‫‪ ‬ﻧﺪ‪‬ﻱ‪ :‬ﺃﺃﺧﺬ‬
‫‪ ‬ﻧﺘﺎﻋﻚ‪ :‬ﺍﻟﱵ ﲤﻠﻜﻬﺎ‪.‬‬
‫‪- 183 -‬‬
 ‫‪ -9‬ﺍﳊـﻖ ﻏـﺎﺏ‪:‬‬
‫ﻳ‪‬ﺤﻜﻰ ﰲ ﻗﺪﱘ ﺍﻟﺰﻣﺎﻥ ﺃﻧﻪ ﻛﺎﻥ ﻳﻮﺟﺪ ﻣﻠﻚ ﻳﺘﺤﺮﻯ ﺍﻟﻌﺪﻝ ﰲ ﺣﻜﻤﻪ ﻳﻌﻴﺶ ﺷﻌﺒﻪ ﲢﺖ ﻛﻨﻔﻪ‬
‫ﰲ ﺭﺧﺎﺀ ﻭﻳﺴﺮ ﻭﳏﺒ‪‬ﺔ‪ ،‬ﺇﱃ ﺃﻥ ﺃﺣﺲ‪ ‬ﺍﳌﻠﻚ ﺑﺄﻥ ﺑﻪ ﻋﻠﺔ ﻓﺄﻣﺮ ﺍﳌﺪ‪‬ﺍﺡ ﺑﺄﻥ ﻳﺼﻴﺢ ﰲ ﺍﻟﻨﺎﺱ‪ ،‬ﺃﻥ‬
‫ﻣﻠﻜﻬﻢ ﻣﺮﻳﺾ ﻭﻣﻦ ﻳﺄﺗﻪ ﺑﺎﻟﺪﻭﺍﺀ ﻓﻠﻪ ﻣﻜﺎﻓﺄﺓ ﻻ ﻣﺜﻴﻞ ﳍﺎ‪ ،‬ﻓﺘﻬﺎﻓﺖ ﺍﻟﻨﺎﺱ ﺑﻜﻞ ﻣﺎ ﺭﺃﻭﺍ ﻓﻴﻪ ﺷﻔﺎﺀ‬
‫ﳌﻠﻜﻬﻢ ﺍﻟﻌﻠﻴﻞ ﻟﻜﻦ ﻫﻴﻬﺎﺕ ﺃﻥ ﻳﻮﺟﺪ ﻟﺪﺍﺀ ﺍﳌﻠﻚ ﺩﻭﺍﺀ‪ ،‬ﻭﳌﺎ ﻃﺎﻝ ﺑﻪ ﺍﳊﺎﻝ ﻓﻜﹼﺮ ﺗﺎﺟﺮﺍﻥ ﰲ ﺃﻥ‬
‫ﻳﻘﺪﻣﺎ ﻟﻠﻤﻠﻚ ﻫﺪﺍﻳﺎ ﺗﻠﻴﻖ ﲟﻘﺎﻣﻪ ﻟﻴﺘﻘﺮﺑﺎ ﻣﻨﻪ‪ ،‬ﻭﺭﲟﺎ ﳛﺼﻼﻥ ﻋﻠﻰ ﻣﺎ ﻫﻮ ﺃﲦﻦ ﻣﻦ ﻫﺪﺍﻳﺎﻫﻢ‪ ،‬ﻭﳌﺸﻴﺌﺔ‬
‫ﺍﻷﻗﺪﺍﺭ ﰲ ﺍﻟﻠﺤﻈﺔ ﺍﻟﱵ ﺩﺧﻞ ﻓﻴﻬﺎ ﺍﻟﺘﺎﺟﺮﺍﻥ ﻋﻠﻰ ﺍﳊﺎﻛﻢ ﺗﻼﳘﺎ ﻓﻼﺡ ﻻ ﺣﻮﻝ ﻟﻪ ﻭﻻ ﻗﻮﺓ ‪ ،‬ﳛﻤﻞ‬
‫ﰲ ﻳﺪﻩ ﺳﻠﺔ ﻣﻦ ﺍﻟﻌﻨﺐ ﺃﺭﺍﺩ ﺃﻥ ﻳﺴﺎﻫﻢ ‪‬ﺎ ﻭﻟﻮ ﺑﺸﻜﻞ ﺭﻣﺰﻱ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺃﻣﻠﻪ ﰲ ﺷﻔﺎﺀ ﺍﳌﻠﻚ‪،‬‬
‫ﻭﺇﻳﺼﺎﻝ ﻣﺪﻯ ﺣﲑﺗﻪ ﻋﻠﻴﻪ‪ ،‬ﻭﻟﻜﻦ ﺍﳌﻔﺎﺟﺄﺓ ﲢﺼﻞ ﻭﺃﻣﺎﻡ ﺃﻋﲔ ﺍﻟﺘﺎﺟﺮﺍﻥ ﻓﻘﺪ ﺷﻔﻲ ﺍﳌﻠﻚ ﳌﺎ ﺃﻛﻞ‬
‫ﻣﻦ ﺳﻠﺔ ﺍﻟﻌﻨﺐ ﻓﻄﻠﺐ ﺍﳌﻠﻚ ﺻﺮﻑ ﺍﳌﻜﺎﻓﺌﺔ ﻟﻠﻔﻼﺡ ‪‬ﺎ ﺃﻳ‪‬ﻤﺎ ﻓﺮﺡ‪ ،‬ﻭﻏﺎﺩﺭ ﺍﻟﻘﺼﺮ ﺑﺼﺤﺒﺔ‬
‫ﺍﻟﺘﺎﺟﺮﺍﻥ‪.‬‬
‫ﻭﺑﻴﻨﻤﺎ ﻫﻢ ﰲ ﺍﻟﻄﺮﻳﻖ ﺃﺣﺲ ﺍﻟﻔﻼﺡ ﻣﻨﻬﻤﺎ ﺧﺒﺜﺎ ﻭﺃﻳﻘﻦ ﺃ‪‬ﻤﺎ ﳜﻄﻄﺎﻥ ﻷﻣﺮ ﻋﻈﻴﻢ ﻣﻦ ﺃﺟﻞ‬
‫ﺍﳊﺼﻮﻝ ﻋﻠﻰ ﺍﳌﻜﺎﻓﺌﺔ‪ ،‬ﺍﻗﺘﺮﺏ ﺍﻟﻔﻼﺡ ﻣﻦ ﺍﻟﺘﺎﺟﺮﻳﻦ ﻭﻗﺎﻝ ﳍﻢ‪ :‬ﻋ‪‬ﻠﻰ ﺑ‪‬ﺎﻟ‪‬ﻲ‪ ‬ﺑﻠﻲ ﺭﺍﻛﻢ ﲣﻤﻮﺍ‬
‫ﺗﻘﺘﻠﻮﱐ‪ ،‬ﻭﻣﺎ ﻋﻨﺪﻱ ﻭﻳﻦ ‪‬ﺮﺏ ﻣﻨﻜﻢ ﻭ‪‬ﺃﹶﻧﺘﻮﻣﺎ ﺑﺴﻼﺣﻜﻢ ﻭﺣﺮﺍﺳﻜﻢ ﻭﺃﻧﺎ ﺑ‪‬ﺮ‪‬ﺍﺳ‪‬ﻲ‪ ،‬ﺑﺼ‪‬ﺢ‬
‫ﻧ‪‬ﻮ‪‬ﺻ‪‬ﻴﻜﹸﻢ‪ ‬ﻭ‪‬ﺻ‪‬ﺎﻳ‪‬ﺎ ﻋ‪‬ﻠﹶﻰ ﻭ‪‬ﺟ‪‬ﻪ ﺭ‪‬ﺑﹺﻲ ﻟﹶﺤ‪‬ﻘﹸﻮﻫ‪‬ﺎ‪ ‬ﻟﹾﻤ‪‬ﺮ‪‬ﺗ‪‬ﻲ‪ ،‬ﻗﹸﻮﻟﹸﻮﻟﹾﻬ‪‬ﺎ ﺑ‪‬ﻠﱢﻲ ﺭ‪‬ﺍﻧﹺﻲ ﻭ‪‬ﺻ‪ّ‬ﻴﺘ‪‬ﻜﹸﻢ‪.‬‬
‫ﺇﺫﺍ ﺟﺎﺑﺖ‪ ‬ﻃﻔﻠﺔ ﺗﺴﻤﻴﻬﺎ ﻓﺮﺣﺔ ﻻ ﺩﺍﻣﺖ‪ ،‬ﻭﺇﺫﺍ ﺟﺎﺑﺖ ﻃﻔﻞ ﺗﺴﻤﻴﻪ ﺍﳊﻖ ﻏﺎﺏ‪‬‬
‫ﳌﺎ ﻭﺻﻞ ﺍﻟﺘﺎﺟﺮﺍﻥ ﺇﱃ ﺍﻟﻘﺮﻳﺔ ﺃﳊﻘﺎ ﺑﺎﻟﻮﺻﻴﺔ ﻟﺰﻭﺟﺔ ﺍﻟﻔﻼﺡ‪ ،‬ﻭﱂ ﲤﺾ ﺇﻻ ﺃﻳﺎﻡ ﻗﻼﺋﻞ ﺣﱴ ﺃﳒﺒﺖ‬
‫ﺍﳌﺮﺃﺓ ﻭﻟﺪﺍ ﺃﲰﺘﻪ ﺍﳊﻖ ﻏﺎﺏ‪ ،‬ﻛﱪ ﺍﻟﻮﻟﺪ ﻭﺃﺷﺘﺪ ﻋﻮﺩﻩ‪ ،‬ﻭﺃﺷﺘﻬﺮ ﺑﲔ ﺍﻟﻨﺎﺱ ﺑﺄﺧﻼﻗﻪ ﺍﻟﻌﺎﻟﻴﺔ‪.‬‬

‫‪ ‬ﻋﻠﻰ ﺑﺎﱄ‪ :‬ﺃﻧﺎ ﻋﻠﻰ ﻋﻠﻢ‪.‬‬

‫‪ ‬ﺃﻧﺎ ﺑﺮﺍﺳﻲ‪ :‬ﲟﻔﺮﺩﻱ‬
‫‪ ‬ﳊﻘﻮﻫﺎ‪ :‬ﺃﻭﺻﻠﻮﻫﺎ‬
‫ﺟﺎﺑﺖ‪ :‬ﺃﳒﺒﺖ‪.‬‬
‫‪‬‬

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‫ﻭﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﻭﺑﻴﻨﻤﺎ ﺍﳌﻠﻚ ﻳﻘﻮﻡ ﲜﻮﻟﺘﻪ ﻛﺎﻟﻌﺎﺩﺓ ﰲ ﺃﺭﺟﺎﺀ ﻣﻠﻜﻪ ﲰﻊ ﻣﻨﺎﺩﻳﺎ ﻳﻨﺎﺩﻱ‬
‫ﻗﺎﺋﻼ‪ :‬ﺍﻟﹾﺤ‪‬ﻖ‪ ‬ﻏﹶﺎﺏ‪ ...‬ﺍﻟﹾﺤ‪‬ﻖ‪ ‬ﻏﹶﺎﺏ‪ ...‬ﻓﺎﺳﺘﻔﺴﺮ ﺍﳌﻠﻚ ﻗﺎﺋﻼ‪ :‬ﻛ‪‬ﻴﻔﹶﺎﻩ‪ ‬ﻳ‪‬ﻐ‪‬ﻴﺐ‪ ‬ﺍﻟﹾﺤ‪‬ﻖ‪ ‬ﻓ‪‬ﻲ ﻣ‪‬ﻠﹾﻜ‪‬ﻲ؟ ﻓﻔﺴﺮ‬
‫ﻟﻪ ﺍﻷﻣﺮ‪ ،‬ﻭﻗﻴﻞ ﻟﻪ ﺑﺄﻥﹼ ﻫﻨﺎﻙ ﺷﺎﺏ ﺍﲰﻪ ﺍﻟﹾﺤ‪‬ﻖ‪ ‬ﻏﹶﺎﺏ‪ ،‬ﻓﺄﻣﺮ ﺃﻥ ﻳﺆﺗﻰ ﺑﻪ‪ ،‬ﻟﻴﺴﺄﻟﻪ ﻋﻦ ﺳﺒﺐ ﺗﺴﻤﻴﺘﻪ‬
‫‪‬ﺬﺍ ﺍﻻﺳﻢ‪.‬‬
‫ﻓﺄﺟﺎﺏ ﺍﻟﺸﺎﺏ ﻋﻨﺪﻫﺎ ﺑﺄﻧﻪ ﻻ ﻳﻌﺮﻑ‪ ،‬ﻭﻟﻜﻨﻪ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﺴﺄﻝ ﺃﻣﻪ‪ ،‬ﻓﻄﻠﺐ ﺍﳌﻠﻚ ﺍﻷﻡ ﻟﻴﺴﺄﳍﺎ‪،‬‬
‫ﻓﻠﻤﺎ ﺟﺎﺀﺕ ﺍﻷﻡ ﻗﺼ‪‬ﺖ ﻟﻠﻤﻠﻚ ﺳﺮ‪ ‬ﻫﺬﺍ ﺍﻻﺳﻢ ﻓﺄﺩﺭﻙ ﺍﳌﻠﻚ ﺃﻥ ﻋﻤﺮ ﺍﻟﺸﺎﺏ ﻳﺘﻘﺎﺭﺏ ﻣﻊ ﺍﳌﺪﺓ‬
‫ﺍﶈﺼﻮﺭﺓ ﺑﲔ ﻫﺬﺍ ﺍﻟﻴﻮﻡ ﻭﺁﺧﺮ ﻣﺮﺓ ﻣﺮﺽ ﻓﻴﻬﺎ‪ ،‬ﻓﺸﻚ ﰲ ﺍﻷﻣﺮ ﻭﺃﺭﺳﻞ ﰲ ﻃﻠﺐ ﺍﻟﺘﺎﺟﺮﻳﻦ‬
‫ﻭﺳﺄﳍﻤﺎ ﻋﻦ ﺍﻟﻘﺼﺔ ﻭﻫﻮ ﺷﺒﻪ ﻣﺘﻴﻘﹼﻦ ﻣﻦ ﺻﺤﺔ ﺷﻜﻮﻛﻪ ﺧﺎﺻﺔ ﻭﺃﻥﹼ ﺍﻟﺸﺎﺏ ﻳﺸﺒﻪ ﻭﺍﻟﺪﻩ ﻛﺜﲑﺍ‪.‬‬
‫ﻛﻤﺎ ﺃﺩﺭﻙ ﺍﻟﺘﺎﺟﺮﺍﻥ ﺃﻥ ﻻ ﻣﻔﺮ‪ ‬ﳍﻤﺎ ﻣﻦ ﺩﻫﺎﺀ ﺍﳌﻠﻚ ﻭﺻﺪﻕ ﺣﺪﺳﻪ ﻓﺎﻋﺘﺮﻓﺎ ﻣﻦ ﺩﻭﻥ ﻣﺮﺍﻭﻏﺔ ﻭﺃﻣﺮ‬
‫ﺍﳊﺎﻛﻢ ﺑﺴﺠﻨﻬﻤﺎ ﻭﻋﻴ‪‬ﻦ ﺍﻟﺸﺎﺏ ﻣﺴﺎﻋﺪﺍ ﻟﻪ ﳌﺎ ﺭﺃﻯ ﻓﻴﻪ ﻣﻦ ﺫﻛﺎﺀ ﻭﺃﻣﺎﻧﺔ ﻭﺭﺩ‪ ‬ﳉﻤﻴﻞ ﺃﺑﻴﻪ‪.‬‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪ :‬ﺱ ﺣﻮﺭﻳﺔ‬

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 ‫‪ -10‬ﻗﹶﺴ‪‬ﺎﻡ‪ ‬ﻟﹶﺮ‪‬ﺯ‪‬ﺍﻕ‪:‬‬
‫ﻗﺎﹶﻟﹶﻚ‪ ‬ﻣﺎ ﻗﺎﻟﻚ ﺃﻥ ﺭﺟﻼ ﻛﺮﻩ ﻣﻦ ﻓﻘﺮﻩ ﻭﺃﺭﺍﺩ ﺃﻥ ﻳﺮﻯ ﻗﺴ‪‬ﺎﻡ ﺍﻷﺭﺯﺍﻕ ﻭﳛﺪ‪‬ﺛﻪ ﻋﻦ ﺃﻣﺮ ﻣﻌﺎﻧﺎﺗﻪ‪،‬‬
‫ﻭﻋﻦ ﺣﺎﻟﺘﻪ ﺍﳌﺰﺭﻳﺔ ﺍﻟﱵ ﺃﻓﻘﺪﺗﻪ ﺻﱪﻩ‪.‬‬
‫ﻓﻤﻀﻰ ﰲ ﺍﻟﻄﺮﻳﻖ ﺑﺎﺣﺜﺎ ﻋﻨﻪ ﻭﺑﻴﻨﻤﺎ ﻫﻮ ﻛﺬﻟﻚ ﻛﺎﻥ ﻳﻔﻜﺮ ﺑﺎﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﳛﺪ‪‬ﺛﻪ ‪‬ﺎ‪ ،‬ﻭﺇﺫ ﺑﻪ ﻳﺮﻯ‬
‫ﻛﻮﺧﺎ ﺃﻣﺎﻣﻪ ‪,‬ﻓﺘﻮﺟﻪ ﳓﻮﻩ ﻋﺴﺎﻩ ﳚﺪ ﻟﻘﻤﺔ ﻳﺄﻛﻠﻬﺎ ﺧﺎﺻﺔ ﻭﺃﻥ ﺍﻟﻮﻗﺖ ﻭﻗﺖ ﻏﺪﺍﺀ ﻭﻛﺬﻟﻚ ﺣﱴ‬
‫ﻳﺴﺘﺮﻳﺢ ﻣﻦ ﺳﻔﺮﻩ‪.‬‬
‫ﻭﳌﺎ ﻭﺻﻞ ﺇﱃ ﺍﻟﻜﻮﺥ ﻭﻃﺮﻕ ﺑﺎﺑﻪ ﺇﺫ ﺑﺸﻴﺦ ﻃﺎﻋﻦ ﰲ ﺍﻟﺴﻦ ﻳﻔﺘﺢ ﻟﻪ ﺍﻟﺒﺎﺏ ﻭﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺸﻴﺦ ﻻ‬
‫ﻋﻤﻞ ﻟﻪ ﺇﻻ ﺍﻟﻌﺒﺎﺩﺓ ﻭﺍﻟﺘﻘﺮﺏ ﺇﱃ ﺍﷲ‪ ،‬ﻓﺴﺄﻟﻪ ﺍﻟﺮﺟﻞ ﻋﻦ ﺣﺎﻟﻪ ﻭﻣﺼﺪﺭ ﻃﻌﺎﻣﻪ‪.‬‬
‫ﺍﳌﺎﻛﻠﺔ ﻭﻣﻌﺎﻩ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻟﻮﻧﻮ ﺃﺑﻴﺾ‪ ،‬ﻓﻄﻠﺐ ﺍﻟﺮﺟﻞ‬ ‫‪‬‬
‫ﻓﻘﺎﻝ ﻟﻪ‪ :‬ﺭ‪‬ﺍﻩ‪ ‬ﻛﹶﺎﻳﹺﻦ‪ ‬ﻭﺍﺣﺪ ﺍﻳ‪‬ﺠﹺﻴﺒ‪‬ﻠ‪‬ﻲ‬
‫ﺍﻟﻄﻌﺎﻡ ﻓﺤﻀﺮﺍﻟﺮﺟﻞ‪ ،‬ﻟﻜﻦ ﻣﻊ ﻋﻨﻘﻮﺩﻳﻦ ﳐﺘﻠﻔﲔ ﰲ ﺍﻟﻠﻮﻥ ﺃﺣﺪﳘﺎ ﺃﺑﻴﺾ ﻭﺍﻵﺧﺮ ﺃﺳﻮﺩ‪ ،‬ﻓﻘﺎﻝ‬
‫ﺍﻟﺸﻴﺦ‪ :‬ﺭﺍﱐ ﰲ ﻛﻞ ﻣﺮ‪‬ﺓ ﻧﺎﻛﻞ ﺍﻟﻌﻨﻘﻮﺩ ﻟﺒﻴﺾ ﻫﺬﻱ ﺍﳌﺮﺓ ﻧﺎﻛﻞ ﻟﻜﺤﻞ‪.‬‬
‫ﻋﻠﻰ‬ ‫‪‬‬
‫ﻓﺄﻛﻞ ﺍﻟﺮﺟﻞ ﺍﻟﻌﻨﻘﻮﺩ ﺍﻷﺑﻴﺾ‪ ،‬ﰒ ﺳﺄﻟﻪ ﺍﻟﺸﻴﺦ ﻋﻦ ﺳﺒﺐ ﺳﻔﺮﻩ ﻓﻘﺎﻝ ﻟﻪ‪ :‬ﺭﺍﱐ ﳓﻮﺱ‬
‫ﻗﺴ‪‬ﺎﻡ ﻟﺮﺯﺍﻕ ﺑﺎﻩ‪ ‬ﳓﻜﻴﻠﻮﺍ ﻋﻠﻰ ﺣﺎﻟﱵ‪ ،‬ﻓﻘﺎﻝ ﻟﻪ ﺍﻟﺸﻴﺦ‪ :‬ﺃﻫﺪﺭﻟﻮﺍ‪ ‬ﺍﻋﻠﻴ‪‬ﺎ‪.‬‬
‫ﻭﻭﺍﺻﻞ ﺍﻟﺮﺟﻞ ﺍﳌﺴﲑ ﳓﻮ ﻣﺒﺘﻐﺎﻩ‪ ،‬ﻭﰲ ﺍﳌﺴﺎﺀ ﶈﺖ ﻋﻴﻨﺎﻩ ﻛﻮﺧﺎ ﻓﺬﻫﺐ ﺇﻟﻴﻪ ﻭﻃﺮﻕ ﺑﺎﺑﻪ ﻓﻔﺘﺤﺖ‬
‫ﻟﻪ ﺍﻣﺮﺃﺓ ﺍﻟﺒﺎﺏ‪ ،‬ﻓﻔﺰﻋﺖ ﻣﻨﻪ ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻣﺎ ﲣﺎﻓﻴﺶ‪ ‬ﻣﻨ‪‬ﻲ ﺭﺍﱐ ﻋﺎﺑﺮ ﻃﺮﻳﻖ ﺑ‪‬ﺮ‪‬ﻙ‪ ‬ﳓﻮﺱ ﻋﻠﻰ‬
‫ﻣﻊ ﺍﳌﻐﺮﺏ ﻻﺯﻡ‬ ‫ﻗﺴ‪‬ﺎﻡ ﻟﺮﺯﺍﻕ‪ ،‬ﻓﺄﺩﺧﻠﺘﻪ ﰒ ﺳﺄﳍﺎ ﻋﻦ ﺯﻭﺟﻬﺎ ﻓﻘﺎﻟﺖ ﻟﻪ‪ :‬ﺭﺍﺡ ﻳ‪‬ﺼﻴﺪ ﻭ‪‬ﻳ‪‬ﻮ‪‬ﻟ‪‬ﻲ‬
‫‪‬‬

‫ﺗﺮﻭ‪‬ﺡ ﺿ‪‬ﺮﻙ‪ ‬ﻗﺒﻞ ﻣﺎ ﻳ‪‬ﺠﹺﻲ‪ ،‬ﺭﺍﻩ ﻗﺘﻞ ﺗﺴﻌﺔ ﻭﺗﺴﻌﲔ ﻭﳛﻮﺱ ﻋﻠﻰ ﳌﻴﺎ‪.‬‬

‫‪ ‬ﳚﻴﺒﻠﻲ‪ :‬ﻳﺄﺗﲏ ﺑﻪ‪.‬‬

‫‪ ‬ﻟﻜﺤﻞ‪ :‬ﺍﻷﺳﻮﺩ‪.‬‬
‫‪ ‬ﳓﻮﺱ‪ :‬ﺃﲝﺚ‪.‬‬
‫‪ ‬ﺃﻫﺪﺭﻟﻮﺍ‪ :‬ﻛﻠﹼﻤ‪‬ﻪ‬
‫‪ ‬ﻣﺎ ﲣﺎﻓﻴﺶ‪ :‬ﻻ ﲣﺎﰲ‪.‬‬
‫‪ ‬ﺑﺮﻙ‪ :‬ﻓﻘﻂ‪.‬‬
‫‪ ‬ﻳﻮﱄ‪ :‬ﻳﺮﺟﻊ‪.‬‬
‫‪ ‬ﺿﺮﻙ‪ :‬ﺍﻵﻥ ﻭ ﰲ ﺍﳊﲔ‬
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‫ﻭﱂ ﻳ‪‬ﺘﻤﺎ ﺣﺪﻳﺜﻬﻤﺎ ﺣﱴ ﻭﺻﻞ ﺍﻟﺮﺟﻞ ﻭﻗﺪ ﺍﺻﻄﺎﺩ ﺛﻼﺕ ﺣ‪‬ﺠ‪‬ﻼﹶﺕ‪ ،(1)‬ﺑﻌﺪ ﺃﻥ ﺍﻋﺘﺎﺩ ﺍﺻﻄﻴﺎﺩ ﺍﺛﻨﲔ‬
‫ﺍﻷﻭﱃ ﻟﻪ ﻭﺍﻟﺜﺎﻧﻴﺔ ﻟﺰﻭﺟﺘﻪ‪ ،‬ﻓﻘﺎﻣﺖ ﺍﳌﺮﺃﺓ ﺑﺘﺨﺒﺌﺔ ﺍﻟﺮﺟﻞ ﻭﳌﺎ ﺩﺧﻞ ﺍﻟﺒﻴﺖ‪ .‬ﻗﺎﻝ‪ :‬ﻭﻳﻨﺎﻫﻮﺍ ﳉﺎﻙ‬
‫ﻳﺎﻣﺮﺍ؟ ﻓﻘﺎﻟﺖ‪ :‬ﻣﻜﹼﺎﻧﺶ)‪ (2‬ﻣﺎﺟﺎ ﺣﱴ ﻭﺍﺣﺪ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻗﻮﱄ ﺭﺍﱐ ﻣﺎﻟﻒ)‪ (3‬ﻧﺼﻴﺪ ﺯﻭﺝ ﻭﻟﻴﻮﻡ‬
‫ﺻﻴ‪‬ﺪﺕ ﺛﻼﺛﺔ ﻭﻫﺬﺍ ﻳﻌﲏ ﺑﻠﹼﻲ ﻛﺎﻳﻦ ﺿﻴﻒ ﻟﻴﻪ ﺍﻟﺜﺎﻟﺜﺔ ﻭﻫﺬﺍ ﻣﻦ ﻣﻜﺘﻮﺑﻮﺍ‪ ،‬ﻗﻮﱄ ﻭﻻﹼ ﻧﻜﻤﻞ ﺑﻴﻚ‬
‫ﳌﻴﺎ‪ ،‬ﻓﻔﺰﻋﺖ ﺍﳌﺮﺃﺓ ﻭﺃﺧﱪﺗﻪ ﲝﻘﻴﻘﺔ ﻭﺟﻮﺩ ﺍﻟﻀﻴﻒ‪.‬‬
‫ﻓﺄﻛﺮﻡ ﺍﻟﺮﺟﻞ ﺍﻟﻀﻴﻒ ﰒ ﺳﺄﻟﻪ ﻋﻦ ﺳﺒﺐ ﺳﻔﺮﻩ ﻓﻘﺎﻝ ﻟﻪ‪ :‬ﺷ‪‬ﻤ‪‬ﻦ‪ (4)‬ﺳﺒ‪‬ﺔ ﻟﺮﺍﻙ ﻣﺴﺎﻓﺮ ﻋﻠﻰ ﺟﺎﳍﺎ؟‪،‬‬
‫ﻓﺄﺧﱪﻩ ﺍﻟﺮﺟﻞ ﻋﻦ ﻣﻘﺼﺪﻩ ﰒ ﻗﺎﻝ ﺍﻟﺮﺟﻞ ﻟﻠﻀﻴﻒ‪ :‬ﺭﻭﺡ ﻭﻗﻮﻟﻮﺍ ﺑﻠﹼﻲ ﺭﺍﱐ ﻟﻘﻴﺖ ﻭﺍﺣﺪ ﺍﻟﺮﺍﺟﻞ‬
‫ﻗﺘﻞ ﺗﺴﻌﺔ ﻭﺗﺴﻌﲔ ﻭﺍﺵ)‪ (5‬ﺭﺍﻩ ﻳﺴﺘﻨﺎ)‪ (6‬ﻓﻴﻪ؟‪.‬‬
‫ﻭﺃﻛﻤﻞ ﺍﻟﺮﺟﻞ ﻃﺮﻳﻘﻪ ﺣﱴ ﺍﻟﺘﻘﻰ ﺑﺸﻴﺦ ﻳﻠﺒﺲ ﺛﻴﺎﺑﺎ ﺑﻴﻀﺎ ﻭ ﻳﺸﻊ‪ ‬ﻧﻮﺭﺍ ﺟﺎﻟﺴﺎ ﻋﻠﻰ ﺻﺨﺮﺓ‪ ،‬ﻓﺴﺄﻟﻪ‬
‫ﺍﻟﺮﺟﻞ‪ :‬ﻧﺴﻘﺴﻴﻚ)‪ (7‬ﻣﺎﻋﻠﻴﻬﺶ)‪(8‬؟ ﻗﺎﻝ ﺍﻟﺸﻴﺦ‪ :‬ﺭ‪‬ﻭﺡ‪ ،(9)‬ﻓﻘﺎﻝ ﺍﻟﺮﺟﻞ‪ :‬ﺃﻧﺎ ﻓﻘﲑ ﻭﻛﺮﻫﺖ ﻣﻦ‬
‫ﻣﻌﻴﺸﱵ ﻫﺬﻱ ﻭﻋﻠﻰ ﻫﺬﻱ ﺍﻟﺴﺒ‪‬ﺔ ﺭﺍﱐ ﳓﻮﺱ)‪ (10‬ﻛﻞﹼ ﻳﻮﻡ ﻋﻠﻰ ﻗﺴ‪‬ﺎﻡ ﻟﺮﺯﺍﻕ‪ .‬ﻓﺄﺧﱪ ﺍﻟﺮﺟﻞ ﻋﻦ‬
‫ﻗﺼﺔ ﺍﻟﺮﺟﻠﲔ‪ ،‬ﻓﻘﺎﻝ ﻟﻪ ﺍﻟﺸﻴﺦ‪ :‬ﻟﹸﻮ‪‬ﻝﹾ ﺭﺍﻩ ﻓﺎﻟﻨﺎﺭ ﻋﻠﻰ ﺧ‪‬ﺎﻃﹶﺮ‪ (11)‬ﺗﻌﺪﻯ ﻋﻠﻰ ﻣﻌﻄﺎﻩ ﺭﰊ ﻟﻠﻀﻴﻒ‪،‬‬
‫ﻭﺍﻟﺰﺍﻭﺝ ﺭﺍﻩ ﺳﻠﻢ ﻋﻠﻰ ﺧﺎﻃﺮ ﻋﺮﻑ ﺣﻖ ﺍﻟﻀﻴﻒ ﻋﻠﻴﻪ ﻭﻣﺎﻗﺘﻠﻮﺵ‪.‬‬
‫ﻭﻋﺎﺩ ﺍﻟﺮﺟﻞ ﺇﱃ ﺑﻴﺘﻪ ﻟﻴﺒﺤﺚ ﻋﻦ ﻋﻤﻞ ﻳﺮﺗﺰﻕ ﻣﻨﻪ‪ ،‬ﻫﺬﺍ ﻣﺎ ﲰﻌﻨﺎ ﻭﻫﺬﺍ ﻣﺎ ﻗﻠﻨﺎ‪.‬‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪:‬ﺏ ﳏﻤ‪‬ﺪ‬

‫)‪ (1‬ﺣﺠﻼﺕ‪ :‬ﺝ ﺣﺠﻠﺔ ﻭﻫﻲ ﻧﻮﻉ ﻣﻦ ﺍﻟﻄﻴﻮﺭ‪.‬‬

‫)‪ (2‬ﻣﻜﺎﻧﺶ‪ :‬ﻻ ﻳﻮﺟﺪ‪.‬‬
‫)‪ (3‬ﻣﺎﻟﻒ‪ :‬ﺃﻟﻔﺖ‪.‬‬
‫)‪ (4‬ﴰﻦ‪ :‬ﺃﻱ ﺃﻭ ﻷﻱ ﺃﻭ ﻣﺎ ﻫﻮ‪.‬‬
‫)‪ (5‬ﻭﺍﺵ‪ :‬ﻣﺎﺫﺍ‪.‬‬
‫)‪ (6‬ﻳﺴﺘﻨﺎ‪ :‬ﻳﻨﺘﻈﺮ‪.‬‬
‫)‪ (7‬ﻧﺴﻘﺴﻴﻚ‪ :‬ﻫﻞ ﺃﺳﺄﻟﻚ‪.‬‬
‫)‪ (8‬ﻣﺎﻋﻠﻴﻬﺶ‪ :‬ﻻ ﻣﺎﻧﻊ‪.‬‬
‫)‪ (9‬ﺭﻭﺡ‪ :‬ﻫﻨﺎ ﺗﻌﲏ ﺍﺳﺄﻝ‪.‬‬
‫)‪ (10‬ﳓﻮﺱ‪ :‬ﺃﲝﺚ‬
‫)‪ (11‬ﻋﻠﻰ ﺧﺎﻃﺮ‪ :‬ﻣﻦ ﺃﺟﻞ‪.‬‬
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 ‫‪ -11‬ﺍﻟﺮﺑ‪‬ﻴﺒ‪‬ﺔ‪:‬‬
‫ﻳ‪‬ﺤﻜﻰ ﺃﻧﻪ ﻛﺎﻧﺖ ﺗﻮﺟﺪ ﺍﻣﺮﺃﺓ ﺗﻮﰲ ﻋﻨﻬﺎ ﺯﻭﺟﻬﺎ‪ ،‬ﻭﺗﺮﻙ ﳍﺎ ﺑﻨﺘﺎ ﻭﺣﻴﺪﺓ ﻭﺭﺑﻴﺒﺔ ﺗﻮﻟﺖ ﺍﳌﺮﺃﺓ‬
‫ﺗﺮﺑﻴﺘﻬﺎ‪ ،‬ﺇﻻﹼ ﺃ‪‬ﺎ ﻛﺎﻧﺖ ﺗﻌﻠﹼﻢ ﺍﺑﻨﺘﻬﺎ ﺃﺻﻮﻝ ﺍﻟﻌﻤﻞ ﺩﻭﻥ ﺍﻷﺧﺮﻯ ﻛﻴﻔﻴﺔ ﺍﻟﻄﺒﺦ ﻭﺍﻟﻐﺴﻴﻞ ﻭﻏﺴﻞ‬
‫ﺍﻟﺼﻮﻑ ﻭﺑﺎﻗﻲ ﺍﻷﻋﻤﺎﻝ ﺍﳌﻨﺰﻟﻴﺔ‪ ،...‬ﻭﲤﺮ‪ ‬ﺍﻷﻳﺎﻡ ﻭﺍﻟﺴﻨﲔ ﻭﺗﻘﺪ‪‬ﻡ ﻟﻠﻔﺘﺎﺗﲔ ﺭﺟﻼﻥ ﻓﺰﻭﺟﺘﻬﻤﺎ ﺍﻷﻡ‪،‬‬
‫ﻭﺃﺧﺬﺕ ﺗﻮﺻﻲ ﺍﺑﻨﺘﻬﺎ ﻛﻴﻒ ﺗﺘﻌﺎﻣﻞ ﻣﻊ ﺯﻭﺟﻬﺎ‪ ،‬ﻭﻛﻴﻒ ﺗﻜﻮﻥ ﻟﻪ ﺍﳌﻌﻴﻨﺔ ﻭﻛﻴﻔﻴﺔ ﺗﺴﻴ‪‬ﺮ ﺑﻴﺘﻬﺎ ﺩﻭﻥ‬
‫ﺇﻋﻄﺎﺀ ﺃﻱ ﺃﳘﻴﺔ ﻟﻠﺮﺑﻴﺒﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺴﻤﻊ ﺗﻠﻚ ﺍﻟﻨﺼﺎﺋﺢ ﺧﻠﺴﺔ ﻣﻦ ﻭﺭﺍﺀ ﺍﻟﺒﺎﺏ‪.‬‬
‫ﻭﻗﺪ ﻛﺎﻧﺖ ﺗﻮﺻﻲ ﺍﺑﻨﺘﻬﺎ ﻗﺎﺋﻠﺔ‪ :‬ﻏﺒ‪‬ﺎﺭ ﺍﻟﺼﻴﻒ‪ ‬ﻳﺎﻛﻠﻮﻩ ﺍﻟﻠﻴﺎﱄ‪ ،‬ﻭﺃﺭ‪‬ﺎ ﻛﻴﻔﻴﺔ ﺍﻟﺘﺨﺰﻳﻦ ﻗﺎﺋﻠﺔ ﺷﻮﰲ‬
‫ﻳﺎ ﻃﻔﻠﺔ ﻛﻴﻔﺎﻩ ﲣﺰﱐ ﺩﻫﺎﻥ‪ ‬ﻭﺍﻟﻜﻠﻴﻠﺔ‪ ‬ﻭﺍﻟﻠﺤﻢ‪ ،‬ﻭﻛﻴﻔﺎﻩ ﲣﺰﱐ ﻟﻘﻤﺢ ﻭﺍﻟﺪﻗﻴﻖ ﻭﺍﻟﺸﻌﲑ‪.‬‬
‫ﻭﻛﻴﻔﺎﻩ ﲣﻴﻄﻲ ﺍﻟﻠﺒﺴﺔ ﻭﺷﻮﰲ ﻛﻴﻔﺎﻩ ﺗﻨﺴﺠﻲ‪ ،‬ﻭﻛﻴﻔﺎﻩ ﺗﻨﻈﻔﻲ ﺍﻟﺰﺭﻳﺒﺔ‪ ‬ﻧﺘﺎﻉ ﻟﺒﻘﺮ ﻭﻟﻐﻨﻢ‪ ...‬ﻭﻣﺎ‬
‫ﺇﱃ ﺫﻟﻚ ﻣﻦ ﺃﻋﻤﺎﻝ‪ ،‬ﻭﺑﻌﺪ ﺯﻭﺍﺟﻬﻤﺎ ﻭﻣﺮﻭﺭ ﻓﺘﺮﺓ ﻣﻦ ﺍﻟﺰﻣﻦ ﻗﺮ‪‬ﺭﺕ ﺍﻷﻡ ﺃﻥ ﺗﺰﻭﺭﻫﻢ ﻭﻗﺎﻟﺖ ﰲ‬
‫ﻧﻔﺴﻬﺎ‪ :‬ﻻﺯﻡ ﻧﺸﻮﻑ ﻟﺒﻨﺎﺕ ﻛﻔﺎﻩ ﺭﺍﻫﻢ ﺩﺍﻳﺮﻳﻦ‪ ‬ﻭﻧﻨﺴﺞ ﺗﻠﻴﺲ‪ ‬ﻭﻧﻮﺭﻳﻪ ﻟﺒﻨﱵ ﻭﻧﻌﻄﻴﻠﻬﺎ‬
‫ﺻﻨﺪﻭﻕ ﻣﻠﻴﺎﻥ‪ ‬ﻟﺒﺴﺔ ﻭﺣﻮﺍﻳﺞ‪.‬‬
‫ﻭﻗﺪ ﺍﺻﻄﺤﺒﺖ ﺍﳋﺎﺩﻣﺔ ﻣﻘﺮﺭﺓ ﺯﻳﺎﺭﺓ ﺍﺑﻨﺘﻬﺎ ﺃﻭﻻ ﺣﱴ ﺗﻀﻊ ﺍﻟﺼﻨﺪﻭﻕ ﻭﺍﳍﺪﺍﻳﺎ ﻋﻨﺪﻫﺎ ﻭﻋﻨﺪﻣﺎ‬
‫ﻭﺻﻠﺖ ﺇﱃ ﺑﻴﺖ ﺍﺑﻨﺘﻬﺎ ﻭﺟﺪﺕ ﻣﺎ ﱂ ﺗﻜﻦ ﺗﺘﺼﻮﺭﻩ ﺣﻴﺚ ﻭﺟﺪﺕ ﺍﻷﻭﺳﺎﺥ ﻣﺘﻨﺎﺛﺮﺓ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‬
‫ﻣﻦ ﺻﻮﻑ ﻭﻓﻀﻼﺕ ﺍﳊﻴﻮﺍﻧﺎﺕ‪ ...‬ﻛﻤﺎ ﺃ‪‬ﺎ ﱂ ﺗﻄﻬﻲ ﺍﻟﻄﻌﺎﻡ‪.‬‬
‫ﻓﻘﺎﻟﺖ ﳍﺎ ﺍﻷﻡ‪ :‬ﻭﺷﻨ‪‬ﻲ ﻫﺬﻱ ﺍﳊﺎﻟﺔ ﻳﺎ ﻃﻔﻠﺔ‪ ،‬ﺭﻭﺣﻲ ﺟﺒﻴﻠﻨﺎ ﻭﺍﺵ ﻧﺎﻛﻠﻮﺍ‪ ،‬ﻓﻘﺎﻟﺖ ﳍﺎ ﺍﻟﺒﻨﺖ‪ :‬ﻫﺬﺍ‬
‫ﻫﻮ ﻏﺒ‪‬ﺎﺭ ﺍﻟﺼﻴﻒ ﻟﻘﻠﱵ ﻋﻠﻴﻪ‪ ،‬ﻣﺸﲑﺓ ﺇﱃ ﺍﻟﻐﺒﺎﺭ ﺍﳊﻘﻴﻘﻲ‪.‬‬

‫ﻭﻟﻜﻠﻴﻠﺔ ﺻﻮﻓﺖ ﻭﳋﻠﻴﻊ‬ ‫‪‬‬

‫ﰒ ﻗﺎﻟﺖ‪ :‬ﻭﻫﺎ ﻫﻮ ﺍﻟﺪﻫﺎﻥ ﻭﻻ ﻟﻮﻧﻮ ﺃﺯﺭﻕ ﻭﻫﺎ ﻫﻮ ﺍﻟﻔﻠﻔﻞ ﺭﺍﻩ ﺯﳒﺮ‬
‫ﺍﻧﱳ‪ ،‬ﻭﻟﻌﺠﻴﻨﺔ ﻳﺒﺴﺖ ﻗﻮﻟﻴﻠﻲ ﻭﺍﺵ ﻧ‪‬ﻄﹶﻴ‪‬ﺒ‪‬ﻠﹶﻚ‪ ‬ﻳﺎ ﺍﻣ‪‬ﺎ‪.‬‬

‫‪ ‬ﻏﺒﺎﺭ ﺍﻟﺼﻴﻒ‪ :‬ﻛﻨﺎﻳﺔ ﻋﻦ ﻣﺎ ﳚﻤﻊ ﰲ ﺍﻟﺼﻴﻒ ﻣﻦ ﻗﻤﺢ ﻭﻣﺎ ﺇﱃ ﺫﻟﻚ ﻣﻦ ﺣﺒﻮﺏ‪.‬‬

‫‪ ‬ﺍﻟﺪﻫﺎﻥ‪ :‬ﺍﻟﺰﺑﺪﺓ ﺍﻟﻄﺒﻴﻌﻴﺔ‪.‬‬
‫‪ ‬ﺍﻟﻜﻠﻴﻠﺔ‪ :‬ﺍﻟﻠﱭ ﺍﻟﻄﺒﻴﻌﻲ ﺍﻟﺬﻱ ﻳﺘﺮﻙ ﺣﱴ ﻳﺼﺒﺢ ﺭﺍﺋﺒﺎ ﻭ ﻳ‪‬ﻐﻠﹼﻰ ﰒ ﻳﻌﺼﺮ ﻭﻳﺼﻔﻰ ﻣﻦ ﺍﳌﺎﺀ ﺑﺸﻜﻞ ﻛﻠﻲ‪.‬‬
‫‪ ‬ﺍﻟﺰﺭﻳﺒﺔ‪ :‬ﺣﻈﲑﺓ ﺍﻟﻐﻨﻢ ﻭﺍﻟﺒﻘﺮ‪.‬‬
‫‪ ‬ﺩﺍﻳﺮﻳﻦ‪ :‬ﻋﺎﻣﻠﲔ‪.‬‬
‫‪ ‬ﺗﻠﻴﺲ‪ :‬ﻛﻴﺲ ﻛﺒﲑ ﻳﺼﻨﻊ ﻣﻦ ﺷﻌﺮ ﺍﳌﺎﻋﺰ‪.‬‬
‫‪ ‬ﻣﻠﻴﺎﻥ‪ :‬ﳑﺘﻠﺊ‪.‬‬
‫ﻟﺒﺴﺔ ﻭﺣﻮﺍﻳﺞ‪ :‬ﺍﻟﻠﺒﺎﺱ ﻭﻣﺎ ﲢﺘﺎﺝ ﺇﻟﻴﻪ‪.‬‬
‫‪‬‬

‫‪ ‬ﺯﳒﺮ‪ :‬ﻇﻬﻮﺭ ﻣﺎ ﻳﺸﺒﻪ ﺍﻟﺼﻮﻑ ﻋﻠﻴﻪ‪.‬‬

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‫ﻓﺨﺮﺟﺖ ﺍﻷﻡ ﻏﺎﺿﺒﺔ ﻣﺼﺪﻭﻣﺔ ﳌﺎ ﺭﺃﺕ ﻭﲰﻌﺖ ﻣﻦ ﺍﺑﻨﺘﻬﺎ‪ ،‬ﻭﺃﺧﺬﺕ ﻣﻌﻬﺎ ﺍﻟﺼﻨﺪﻭﻕ‬
‫ﻗﺎﺻﺪﺓ ﺍﻟﺮﺑﻴﺒﺔ‪ ،‬ﻭﳌﺎ ﻭﺻﻠﺖ ﺇﻟﻴﻬﺎ ﻭﺟﺪﺕ ﻣﺎ ﱂ ﺗﻌﻠﹼﻤﻬﺎ ﺇﻳﺎﻩ‪ ،‬ﻓﻘﺪ ﻭﺟﺪﺕ ﻛﻞ ﺷﻲﺀ ﰲ ﻣﻜﺎﻧﻪ‬
‫ﻭﺃﺭﺟﺎﺀ ﺍﳌﻨﺰﻝ ﻧﻈﻴﻔﺔ ﻣﻦ ﺍﻟﺪﺍﺧﻞ ﻭﺍﳋﺎﺭﺝ ﻭﺍﻟﻄﻌﺎﻡ ﳐﺰﻥ ﻭﺳﻠﻴﻢ‪ ،‬ﻭﺍﻟﺒﻴﺖ ﻣﻠﻲﺀ ﺑﺎﻷﻧﺴﺠﺔ‬
‫ﺍﻟﺼﻮﻓﻴﺔ ﺍﳌﺨﺘﻠﻔﺔ ﺍﻷﻧﻮﺍﻉ ﻭﺍﳌﺘﻌﺪﺩﺓ ﺍﻷﻟﻮﺍﻥ‪.‬‬
‫ﻓﻘﺎﻣﺖ ﺍﻟﺮﺑﻴﺒﺔ ﺑﻄﻬﻲ ﺍﻟﻄﻌﺎﻡ ﻷﻣﻬﺎ ﻓﺘﻨﺎﻭﻟﺘﻪ ﻭﺍﻟﻨﺪﻡ ﻳﻨﻬﺶ ﻣﻦ ﻛﺒﺪﻫﺎ ﻓﻮﺩﻋﺖ ﺍﻷﻡ ﺍﻟﺒﻨﺖ ﻗﺎﺋﻠﺔ‪:‬‬
‫ﻱ‪ ‬ﰲ ﺭﻭﺣﻚ ﻳﺎ ﺑﻨﻴﱵ ﻭﺃﲰﺤﻴﻠﻲ ﻋﻠﻰ ﻛﻠﺶ‪ ،‬ﻭﻫﺎﻛﻲ‪ ‬ﻫﺬﺍ ﺍﻟﺼﻨﺪﻭﻕ ﺭﺍﻩ ﻓﻴﻪ‬ ‫ﺃﺗ‪‬ﻬ‪‬ﻼﱠ ‪‬‬
‫ﻛﻠﹼﺶ‪.‬‬
‫ﻭﻋﺎﺩﺕ ﺇﱃ ﺍﺑﻨﺘﻬﺎ ﻟﺘﺄﺧﺬﻫﺎ ﻣﻌﻬﺎ ﺇﱃ ﺍﻟﺒﻴﺖ ﻭﻃﻠﺒﺖ ﻣﻨﻬﺎ ﻓﺄﺳﺎ ﻓﻘﺎﻟﺖ‪ :‬ﺃﻋﻄﻴﻠﻲ ﻟﻔﺎﺱ ﺑﺎﻩ ﺍﻧﺢ ﺑﻴﻪ‬
‫ﺍﻟﺒﻮﻧﺎﻓﻊ‪ ‬ﻋﻠﻰ ﺧﺎﻃﺮ ﻇﻬﺮﻱ ﺭﺍﻩ ﻳﻮﺟﻊ‪.‬‬
‫ﻭﺑﻴﻨﻤﺎ ﻫﻢ ﰲ ﺍﻟﻄﺮﻳﻖ ﻧﺰﻟﺖ ﺍﻷﻡ ﻟﻨﺰﻉ ﺍﻟﺒﻮﻧﺎﻓﻊ ﻓﻄﻠﺒﺖ ﺍﳌﺴﺎﻋﺪﺓ ﻣﻦ ﺍﺑﻨﺘﻬﺎ ﻭﻣﺎ ﺇﻥ ﺍﻗﺘﺮﺑﺖ ﻣﻨﻬﺎ‬
‫ﺣﱴ ﻗﺘﻠﺘﻬﺎ ﺑﺎﻟﻔﺄﺱ ﻭﻗﺎﻟﺖ ﳍﺎ‪ :‬ﻣﻮﺗﻚ ﺧﲑ ﻣﻦ ﺣﻴﺎﺗﻚ‪.‬‬
‫)ﺻﻠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺳﻠﻢ(‪.‬‬ ‫ﻫﺬﺍ ﻣﺎ ﻗﻠﻨﺎ ﻭﻫﺬﺍ ﻣﺎ ﺍﲰﻌﻨﺎ ﻭﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺍﻟﻨﱯ‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪ :‬ﺏ ﻋﺎﺋﺸﺔ‬

‫‪ ‬ﺍ‪‬ﻼﻱ‪ :‬ﺍﻋﺘﲏ ﺑﻨﻔﺴﻚ‪.‬‬

‫‪ ‬ﻋﻠﻰ ﻛﻠﺶ‪ :‬ﻋﻠﻰ ﻛﻞ ﺷﻲﺀ‬
‫‪ ‬ﻫﺎﻛﻲ‪ :‬ﺧﺬﻱ‪.‬‬
‫ﺍﻟﺒﻮﻧﺎﻓﻊ‪ :‬ﺍﻟﺪﺭﻳﺎﺱ ﻭﻫﻮ ﻧﺒﺎﺕ ﻳﺴﺘﻌﻤﻞ ﻟﻠﺘﺪﺍﻭﻱ ﻣﻦ ﺁﻻﻡ ﺍﻟﻈﻬﺮ‪.‬‬
‫‪‬‬

‫‪- 189 -‬‬

 ‫‪-12‬ﺣﻜﺎﻳﺔ ﺍﳉﻮﺩ‪:‬‬
‫ﳛﻜﻰ ﰲ ﻗﺪﱘ ﺍﻟﺰﻣﺎﻥ ﺃﻥ ﺃﺣﺪﻫﻢ ﺳﺄﻝ‪ ،‬ﻫﻞ ﺍﳉﻮﺩ ﺑﺎﳌﻮﺟﻮﺩ ﻭﻻ ﻋﺎﺩﺓ ﻣﻦ ﳉﺪﻭﺩ‪ ،‬ﺍﻟﻨ‪‬ﺎﺱ ﻛـ ﹼﻞ‬
‫ﻳﻌﻄﻴﻪ ﺭﺍﻳﻪ‪ ،‬ﻭﰲ ﻳﻮﻡ ﻣﻦ ﺍﻷﻳﺎﻡ ﻣﺸﻰ ﻃﺮﻳﻘﺎ ﰲ ﺍﻟﺼﺤﺮﺍﺀ‪ ،‬ﻓﺤﻞﹼ ﻋﻠﻴﻪ ﺍﻟﻈﻼﻡ‪ ،‬ﻭﺑﺎﻟﺼﺪﻓﺔ ﻭﺟﺪ ﺧﻴﻤـﺔ‬
‫) ‪(1‬‬
‫ﻓﻘﺼﺪﻫﺎ ﻭﻭﺟﺪ ﻓﻴﻬﺎ ﺍﻣﺮﺃﺓ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ ‪ :‬ﺿﻴﻒ ﺭﰊ‪ ،‬ﻓﻘﺎﻟﺖ ﻟﻪ‪ :‬ﺃﻫﻼ ﻭﺳﻬﻼ ﺑﻀـﻴﻒ ﺭﰊ‪ ،‬ﺃﺳـﺘﲎ‬
‫ﻧﻴﺠﻲ)‪ (2‬ﻣﻮﻻ ﺑﻴﱵ)‪ ،(3‬ﻛﻲ ﺟﺎ ﻣﻮﻝ ﺍﻟﺒﻴﺖ ﺷﺎﻓﻮﺍ ﻓﻘﺎﻝ ﻟﺰﻭﺟﺘﻪ‪ :‬ﻭﺍﺵ ﻳﻜﻮﻥ ؟)‪ (4‬ﻗﺎﻟﺖ ﻟـﻪ‪ :‬ﺿـﻴﻒ‬
‫ﺭﰊ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻳﺮﻭﺡ ﳜﻄﻴﲏ ﻣﺎ ﻋﻨﺪﻱ ﻣﺎ ﻧﻮﻛﻠﻮ‪ ،‬ﺭﺩ‪‬ﺕ ﺍﻟﺰﻭﺟﺔ‪ :‬ﻣﺎ ﻋﻠﻴﻬﺶ ﻧ‪‬ﻈﻴ‪‬ﻔﻮﻩ ﻭﻧﺒﺎﺕ ﺑﻼ ﻋﺸﺎ‪،‬‬
‫ﺃ‪‬ﻰ ﻟﻴﻠﺘﻪ ﻫﻨﺎﻙ‪ ،‬ﻭﰲ ﺍﻟﻴﻮﻡ ﺍﳌﻮﺍﱄ ﻭﺍﺻﻞ ﻃﺮﻳﻘﻪ ﰲ ﺍﻟﺼﺤﺮﺍﺀ‪ ،‬ﻭﺯﺍﺩ ﺣﻜﻤﻮ ﺍﻟﻠﻴﻞ ﻋﻨﺪ ﻧﺎﺱ‪ ،‬ﻭﻗﺎﻝ ﳍﻢ‪:‬‬
‫ﺿﻴﻒ ﺭﺑ‪‬ﻲ‪ ،‬ﺭﺩ ّﻋﻠﻴﻪ ﺻﺎﺣﺐ ﺍﻟﺒﻴﺖ‪ :‬ﺃﻫﻼ ﻭﺳﻬﻼ ﺑﻀﻴﻒ ﺭﰊ‪ ،‬ﻗﺮ‪‬ﺏ ﺍﻟﺪﺍﺭ ﺩﺍﺭﻙ‪ ،‬ﻟﻜﻦ ﻫـﺬﻩ ﺍﳌـﺮﺓ‬
‫ﺍﻟﺰﻭﺟﺔ ﻫﻲ ﺍﻟﱵ ﺍﻋﺘﺮﺿﺖ ﻋﻠﻰ ﻣﺒﻴﺘﻪ ﻋﻨﺪﻫﻢ‪ ،‬ﻗﺎﺋﻠﺔ ﻟﺰﻭﺟﻬﺎ‪ :‬ﻣﺎ ﻋﺪﻧﺎﺵ ﻭﺵ ﻳﺎﻛﻞ‪ ،‬ﻓﻘﺎﻝ ﳍﺎ‪ :‬ﻣﻌﻠﻴﻬﺶ‬
‫ﻧﺒﺎﺕ ﺃﻧﺎ ﺑﻼ ﻋﺸﺎ‪.‬‬
‫ﻓﺘﻌﺠﺐ ﺍﻟﻀﻴﻒ ﻣﻦ ﺍﻷﻣﺮ ﻭﻗﺎﻝ ﻟﺼﺎﺣﺐ ﺍﻟﺒﻴﺖ‪ :‬ﻳﺎ ﺳﺒﺤﺎﻥ ﺍﷲ‪ ،‬ﺍﻟﺒﺎﺭﺡ ﺻـﺎﺭ ﻓﻴـﺎ ﻛﻴـﺖ‬
‫ﻭﻛﻴﺖ‪ ،‬ﻭﺍﻟﻴﻮﻡ ﺍﻟﻌﻜﺲ‪ ،‬ﻓﻘﺎﻝ ﻟﻪ ﻣﻮﻝ ﺍﻟﺪﺍﺭ‪ :‬ﻣﺎ ﺗﺘﻌﺠﺒﺶ ﻫﺎﺫﻭﻙ ﺍﻟﻨ‪‬ﺎﺱ ﳌﺮﺓ ﺍﻟﻠﻲ ﺿـﻴﻔﺎﺗﻚ ﺍﺧـﱵ‪،‬‬
‫ﻭﺍﻟﺮﺍﺟﻞ ﺍﻟﻠﻲ ﺗﻠﻔﹼﻚ ﺧﻮ ﻫﺬﻱ ﺍﳌﺨﻠﻮﻗﺔ ﺍﻟﻠﻲ ﻋﻨﺪﻱ‪.‬‬
‫ﻗﺎﻟﻮ ﺍﻟﻀﻴﻒ ‪":‬ﺃﻣ‪‬ﺎﻻ ﺍﳉﻮﺩ ﻋﺎﺩﺓ ﻣﻦ ﳉﺪﻭﺩ"‪.‬‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪:‬ﺏ ﺭﲪﻮﻥ‪.‬‬

‫)‪ (1‬ﺍﺳﺘﲎ‪ :‬ﺍﻧﺘﻈﺮ‪.‬‬

‫)‪ (2‬ﻧﻴﺠﻲ‪ :‬ﻳﺄﰐ‪.‬‬
‫)‪ (3‬ﻣﻮﻻ ﺑﻴﱵ‪ :‬ﺯﻭﺟﻲ‪.‬‬
‫)‪ (4‬ﻭﺍﺵ ﻳﻜﻮﻥ؟‪ :‬ﻣﻦ ﻳﻜﻮﻥ ؟‪.‬‬
‫‪- 190 -‬‬
 ‫‪ -13‬ﺣﻜﺎﻳﺔ ﺍﻟﺬﻳﺐ)‪ (1‬ﻭﺍﻟﻀﺒﻊ‪:‬‬
‫ﳛﻜﻰ ﰲ ﻗﺪﱘ ﺍﻟﺰﻣﺎﻥ ﺃﻥﹼ ﺍﻟﺬﺋﺐ ﻭﺍﻟﻀﺒﻊ ﺗﺮﺍﻓﻘﺎ ﰲ ﻃﺮﻳﻖ ﻭﳘﺎ ﳝﺸﻴﺎﻥ ﻭﺟﺪﺍ ﺭﺋـﺔ ﻣﻮﺿـﻮﻋﺔ‬
‫ﻭﲢﺘﻬﺎ ﻓﺨﺔ‪ ،‬ﳌﺎ ﺭﺁﻫﺎ ﺍﻟﺬﺋﺐ ﺗﻔﻄﻦ ﺇﱃ ﺃﻥ ﺍﳌﻮﺿﻮﻉ ﻣﺸﻜﻮﻙ ﻓﻴﻪ‪.‬‬
‫ﻓﺨﺎﻑ ﻭﻗﺮ‪‬ﺭ ﺃﻻﹼ ﻳﻐﺎﻣﺮ ﺑﻨﻔﺴﻪ‪ ،‬ﻭﻛﻤﺎ ﻫﻮ ﻣﻌﺮﻭﻑ ﻋﻦ ﺍﻟﺬﺋﺐ ﺑﺄﻧﻪ ﺻﺎﺣﺐ ﺣﻴﻞ ﻭﻟﻪ ﻣﻌﺮﻓـﺔ‬
‫ﻛﺒﲑﺓ ﺑﺄﻣﻮﺭ ﺍﻟﺪﻧﻴﺎ ﻭﺧﻔﺎﻳﺎﻫﺎ‪.‬‬
‫ﺍﻟﻀﺒﻊ ﳌﺎ ﺭﺃﻯ ﻋﻠﻰ ﺍﻟﺬﺋﺐ ﺣﺎﻟﺔ ﻣﻦ ﺍﳋﻮﻑ ﻗﺎﻝ ﻟﻪ‪ :‬ﻭﺍﺵ ﻫﺬﺍ)‪ (2‬ﺃﺳﻲ)‪ (3‬ﳏﻤﺪ )ﻛﻴﻤﺎ ﻳﺴﻤﻮﻩ‬
‫ﰲ ﺍﻟﻐﺎﺑﺔ( ﺭﺩ ّﻋﻠﻴﻪ ﺍﻟﺬﺋﺐ‪ ،‬ﻫﺎﺫﻱ ﻳﻘﻮﻟﻮﳍﺎ ﺍﻟﺮﻳ‪‬ﺔ)‪ (4‬ﻭﲢﺘﻬﺎ ﺑﻠﻴﺔ)‪ (5‬ﻭﺩﻋﻮﺓ ﺍﻟﻮﺍﻟﺪﻳﻦ ﲢﺼﻞ ﻓﺎﻟﺬﺭﻳﺔ‪.‬‬
‫ﺍﻟﻀﺒﻊ ﻗﺎﻝ ﻟﻠﺬﻳﺐ‪ :‬ﺃﻣﺎ ﻻﻛﻲ)‪ (6‬ﻧﺎﻛﻠﻬﺎ ﲢﺼﻞ ﺍﻟﺪﻋﻮﺓ ﰲ ﻭﻻﺩﻱ‪ ،‬ﺍﻟﺬﻳﺐ ﻣﺎﻫﻮ ﻣﻜﺎﺭ ﻗﺎﻝ ﻟﻪ‪:‬‬
‫ﻟﻪ‪ :‬ﺃﻧﻌﻢ ﺇﻳﻪ ﲢﺼﻞ ﰲ ﺃﻭﻻﺩﻙ‪.‬‬
‫ﺃﺗﻼﺡ ﺍﻟﻀﺒﻊ ﻓﺎﻟﺮﻳﺔ ﺣﻜﻤﻮ ﺍﻟﻜﻤﺎﺵ)‪ (7‬ﻓﻘﺎﻝ ﺍﻟﺬﻳﺐ‪ :‬ﺁﻩ ﻳﺎ ﺍﻟﺬﻳﺐ ﺧﺪﻋﺘﲏ ﳜﻲ ﻗﺘﻠﻲ ﲢﺼﻞ ﰲ‬
‫ﰲ ﻭﻻﺩﻙ‪ ،‬ﺭﺩ‪ ‬ﻋﻠﻴﻪ ﺍﻟﺬﺋﺐ ﻗﺎﺋﻼ‪ :‬ﺁﺳﻲ ﺍﻟﻀﺒﻊ ﻭﺍﻗﻴﻼ ﻭﺍﻟﺪﻳﻚ ﻛﺎﺵ ﻣﺎ ﺩﺍﺭﻭﺍ)‪ (8‬ﻫﺎﻱ ﺣﺼﻠﺖ ﻓﻴـﻚ‬
‫ﻧ‪‬ﺖ‪.‬‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪:‬ﺏ ﺭﲪﻮﻥ‪.‬‬

‫)‪ (1‬ﺍﻟﺬﻳﺐ‪ :‬ﺍﻟﺬﺋﺐ‪.‬‬

‫)‪ (2‬ﻭﺵ ﻫﺬﺍ‪ :‬ﻣﺎ ﻫﺬﺍ‪.‬‬
‫)‪ (3‬ﺃﺳﻲ‪ :‬ﻳﺎ ﺳﻴﺪ‪.‬‬
‫)‪ (4‬ﺍﻟﺮﻳﺔ‪ :‬ﺍﻟﺮﺋﺔ‪.‬‬
‫)‪ (5‬ﺑﻠﻴﺔ‪ :‬ﺑﻼﺀ‪.‬‬
‫)‪ (6‬ﺃﻣﺎ ﻻ‪ :‬ﺇﺫﻥ ﳌﺎ‪.‬‬
‫)‪ (7‬ﺍﻟﻜﻤﺎﺵ‪ :‬ﺍﻟﻔﺦ ﺍﳌﻮﺿﻮﻉ ﻟﺼﻴﺪ ﺍﳊﻴﻮﺍﻧﺎﺕ‪.‬‬
‫)‪ (8‬ﻛﺎﺵ ﻣﺎ ﺩﺍﺭﻭ‪ :‬ﻓﻌﻠﻮﺍ ﺃﻣﺮﺍ ﻣﺎ‪.‬‬
‫‪- 191 -‬‬
 ‫‪-14‬ﺣﻜﺎﻳﺔ ﺍﻟﻀﻴﻒ‪:‬‬
‫ﳛﻜﻰ ﺃﻥ ﺿﻴﻔﺎ ﻧﺰﻝ ﻋﻠﻰ ﺃﻧﺎﺱ ﺑﺴﻄﺎﺀ ﻭﺃﻃﺎﻝ ﻋﻨﺪﻫﻢ ﺍﻟﺒﻘﺎﺀ ﻷﻥﹼ ﺍﳌﻄﺮ ﻳﺘﺴﺎﻗﻂ ﳌـﺪﺓ ﻓﺎﻗـﺖ‬
‫ﺍﻟﺜﻼﺛﺔ ﺃﻳﺎﻡ )ﺍﻟﱵ ﻫﻲ ﻣﺪﺓ ﺍﻟﻀﻴﻒ ﰲ ﺍﻟﻌﺎﺩﺓ(‪ ،‬ﻓﺎﺳﺘﺜﻘﻠﻪ ﺃﻫﻞ ﺍﻟﺒﻴﺖ‪ ،‬ﻭﻛﻲ ﺻﺤﺎﺕ ﺍﻟﻘـﲑﺓ)‪ (1‬ﻛﻴﻤـﺎ‬
‫ﻳﻘﻮﻟﻮﺍ ﺧﺮﺟﺖ ﺍﻟﺰﻭﺟﺔ ﻟﻠﺤﻮﺵ)‪ (2‬ﻭﻗﺎﻟﺖ ﺑﺼﻮﺕ ﻋﺎﻝﹴ ﻟﻴﺴﻤﻌﻬﺎ ﺍﻟﻀﻴﻒ‪ ،‬ﺻﺤﺎﺕ‪ ،‬ﻭﲢﻼﺕ‪ ،‬ﻭﻣـﺎ‬
‫ﺑﻘﻰ ﻟﻠﻀﻴﻒ ﻻﻩ ﻳﺒﺎﺕ‪.‬‬
‫ﺭﺩ‪ ‬ﻋﻠﻴﻬﺎ ﺍﻟﻀﻴﻒ ﻗﺎﺋﻼ‪ :‬ﻳﺼﺤ‪‬ﻴﻬﺎ‪ ،‬ﻭﳛﻠﹼﻴﻬﺎ‪ ،‬ﻭﻣﺎ ﻳﺮﻭﺡ ﺍﻟﻀﻴﻒ ﻏﻴﻼ ﻣ‪‬ﻼﻫـﺎ)‪ (3‬ﻓﻘﺎﻟـﺖ ﻟـﻪ‬
‫ﺍﻟﺰﻭﺟﺔ‪ ،‬ﻛﻮﻝ ﺍﻟﺸﺮﺷﻢ‪ ،‬ﻻ ﲢﺸﻢ‪ ،‬ﺍﷲ ﻏﺎﻟﺐ ﻣﺎ ﺻﺒﻨﺎﺵ)‪ (4‬ﺭﺩ ﺍﻟﻀﻴﻒ‪ :‬ﻫﺰ ﺍﳌﻐﺮﻑ ﻭﺭﻭﺡ ﺃﺳﻠﻒ‪ ،‬ﻻﻩ‬
‫ﻻﻩ ﺍﻟﻨﺰﻟﺔ)‪ (5‬ﺃﹸﻛﻞ)‪ (6‬ﻣﺎ ﻓﻴﻬﺎﺵ‪ ،‬ﺭﺩ‪‬ﺕ ﻋﻠﻴﻪ ﳌﺮﺓ ﺑﺰﻋﺎﻑ)‪ :(7‬ﺗﺎﻛﻞ ﺍﻟﺸﻜﻮﻙ ﻭﻋﻮﺍﺩﻭ‪.‬‬
‫ﺭﺩ‪ ‬ﻋﻠﻴﻬﺎ ﺍﻟﻀﻴﻒ‪ :‬ﳌﻮﻝ ﺍﻟﺒﻴﺖ)‪ (8‬ﻭﻭﻻﺩﻭ‪.‬‬

‫ﺍﻟﺮ‪‬ﺍﻭﻱ‪:‬ﺏ ﺭﲪﻮﻥ‪.‬‬

‫)‪ (1‬ﻭﻛﻲ ﺻﺤﺎﺕ ﺍﻟﻘﲑﺓ‪ :‬ﳌﺎ ﺍﻋﺘﺪﻝ ﺍﳉﻮ ﺑﻄﻠﻮﻉ ﺍﻟﺸﻤﺲ ﻭﺗﻮﻗﻒ ﺍﳌﻄﺮ‪.‬‬
‫)‪ (2‬ﺍﳊﻮﺵ‪ :‬ﻓﻨﺎﺀ ﺍﳌﻨﺰﻝ‪.‬‬
‫)‪ (3‬ﻏﻴﻼ ﻣﻼﻫﺎ‪ :‬ﺇﻻ ﳌﺎ ﻳﺸﺒﻊ ﺑﻄﻨﻪ‪.‬‬
‫)‪ (4‬ﻣﺎ ﺻﺒﻨﺎﺵ‪ :‬ﻣﺎ ﻋﺪﻧﺎ ﺷﻲﺀ‪.‬‬
‫)‪ (5‬ﺍﻟﻨﺰﻟﺔ‪ :‬ﺍﳉﲑﺍﻥ‪ ،‬ﺍﻟﺴﻜﻨﺎﺕ ﺍﻟﻘﺮﻳﺒﺔ ﻣﻦ ﺍﳌﻨﺰﻝ‪.‬‬
‫)‪ (6‬ﺃﹸﻛﻞ‪ :‬ﻛﻠﻬﺎ‪.‬‬
‫)‪ (7‬ﺑﺰﻋﺎﻑ‪ :‬ﺑﻐﻀﺐ ﺷﺪﻳﺪ‬
‫)‪ (8‬ﻣﻮﻝ ﺍﻟﺒﻴﺖ‪ :‬ﺻﺎﺣﺐ ﺍﻟﺒﻴﺖ‪ ،‬ﻭﻳﻘﺼﺪ ﺑﻪ ﺍﻟﺰﻭﺝ‪.‬‬
‫‪- 192 -‬‬
‫اﻟﻔﮭﺎرس‬

‫‪- 193 -‬‬

 ‫‪-1‬ﻓﻬﺮﺱ ﺍﻷﺷﻌﺎﺭ‪:‬‬
‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﻧﻮﻉ ﺍﻟﻠﻐﺔ‬ ‫ﻋﺪﺩ ﺍﻷﺑﻴﺎﺕ‬ ‫ﺍﻟﺸﺎﻋﺮ‬
‫‪07‬‬ ‫ﻓﺼﻴﺢ‬ ‫ﺑﻴﺖ ﻭﺍﺣﺪ‬ ‫ﺛﻌﻠﺒﺔ‬
‫‪46‬‬ ‫ﻓﺼﻴﺢ‬ ‫ﺛﻼﺙ ﺃﺑﻴﺎﺕ‬ ‫ﺍﳌﺮﻭﺯﻱ‬
‫‪48‬‬ ‫ﻓﺼﻴﺢ‬ ‫ﺑﻴﺖ ﻭﺍﺣﺪ‬ ‫ﺍﻟﻐﱪﻳﲏ‬
‫‪60-59‬‬ ‫ﻋﺎﻣﻲ‬ ‫ﺗﺴﻌﺔ ﺃﺑﻴﺎﺕ‬ ‫ﳏﻤﺪ ﺑﻦ ﺍﻟﺰﻭﺍﱄ‬
‫‪60‬‬ ‫ﻋﺎﻣﻲ‬ ‫ﲬﺴﺔ ﺃﺑﻴﺎﺕ‬ ‫ﺇﺑﺮﺍﻫﻴﻢ ﺍﻟﺰﻟﻮﻑ‬
‫‪61-60‬‬ ‫ﻋﺎﻣﻲ‬ ‫ﲬﺴﺔ ﺃﺑﻴﺎﺕ‬ ‫ﻣﺮﺍﺩ ﺑﻦ ﻓﻄﻮﻡ‬
‫‪62‬‬ ‫ﻋﺎﻣﻲ‬ ‫ﲬﺴﺔ ﺃﺑﻴﺎﺕ‬ ‫ﺇﺑﺮﺍﻫﻴﻢ ﺟﺤﻴﺶ‬
‫‪92‬‬ ‫ﻓﺼﻴﺢ‬ ‫ﺑﻴﺖ ﻭﺍﺣﺪ‬ ‫ﳎﻬﻮﻝ‬
‫‪92‬‬ ‫ﻓﺼﻴﺢ‬ ‫ﺑﻴﺖ ﻭﺍﺣﺪ‬ ‫ﺍﺑﻦ ﺯﻳﺪ‬

‫‪- 194 -‬‬

 ‫‪ -2‬ﻓﻬﺮﺱ ﺍﻵﻳﺎﺕ ﺍﻟﻘﺮﺁﻧﻴﺔ‪:‬‬

‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﻧﺺ ﺍﻵﻳﺔ ﻛﺎﻣﻼ‬ ‫ﺭﻗﻢ ﺍﻵﻳﺔ‬ ‫ﺍﻟﺴﻮﺭﺓ‬

‫‪54‬‬ ‫}ﻳ‪‬ﺎ ﺃﹶﻳ‪‬ﻬ‪‬ﺎ ﺍﻟﱠﺬ‪‬ﻳﻦ‪ ‬ﺁﻣ‪‬ﻨ‪‬ﻮﺍﹾ ﻻﹶ ﺗ‪‬ﺤ‪‬ﻠﱡﻮﺍﹾ ﺷ‪‬ﻌ‪‬ﺂﺋ‪‬ﺮ‪ ‬ﺍﻟﻠﹼﻪ‪ ‬ﻭ‪‬ﻻﹶ ﺍﻟﺸ‪‬ﻬ‪‬ﺮ‪ ‬ﺍﻟﹾﺤ‪‬ﺮ‪‬ﺍﻡ‪ ‬ﻭ‪‬ﻻﹶ ﺍﻟﹾﻬ‪‬ـﺪ‪‬ﻱ‪ ‬ﻭ‪‬ﻻﹶ‬ ‫‪02‬‬ ‫ﺍﳌﺎﺋﺪﺓ‬
‫ﺍﻟﹾﻘﹶﻶﺋ‪‬ﺪ‪ ‬ﻭ‪‬ﻻ ﺁﻣ‪‬ﲔ‪ ‬ﺍﻟﹾﺒ‪‬ﻴ‪‬ﺖ‪ ‬ﺍﻟﹾﺤ‪‬ﺮ‪‬ﺍﻡ‪ ‬ﻳ‪‬ﺒ‪‬ﺘ‪‬ﻐ‪‬ﻮﻥﹶ ﻓﹶﻀ‪‬ﻼﹰ ﻣ‪‬ﻦ ﺭ‪‬ﺑ‪‬ﻬﹺﻢ‪ ‬ﻭ‪‬ﺭﹺﺿ‪‬ﻮ‪‬ﺍﻧ‪‬ﺎ ﻭ‪‬ﺇﹺﺫﹶﺍ ﺣ‪‬ﻠﹶﻠﹾـﺘ‪ ‬ﻢ‬
‫ﻓﹶﺎﺻ‪‬ﻄﹶﺎﺩ‪‬ﻭﺍﹾ ﻭ‪‬ﻻﹶ ﻳ‪‬ﺠ‪‬ﺮﹺﻣ‪‬ﻨ‪‬ﻜﹸﻢ‪ ‬ﺷ‪‬ﻨ‪‬ﺂﻥﹸ ﻗﹶﻮ‪‬ﻡﹴ ﺃﹶﻥ ﺻ‪‬ﺪ‪‬ﻭﻛﹸﻢ‪ ‬ﻋ‪‬ﻦﹺ ﺍﻟﹾﻤ‪‬ﺴ‪‬ـﺠﹺﺪ‪ ‬ﺍﻟﹾﺤ‪‬ـﺮ‪‬ﺍﻡﹺ ﺃﹶﻥ‬
‫ﺗ‪‬ﻌ‪‬ﺘ‪‬ﺪ‪‬ﻭﺍﹾ ﻭ‪‬ﺗ‪‬ﻌ‪‬ﺎﻭ‪‬ﻧ‪‬ﻮﺍﹾ ﻋ‪‬ﻠﹶﻰ ﺍﻟﹾﱪ‪ ‬ﻭ‪‬ﺍﻟﺘ‪‬ﻘﹾﻮ‪‬ﻯ ﻭ‪‬ﻻﹶ ﺗ‪‬ﻌ‪‬ﺎﻭ‪‬ﻧ‪‬ﻮﺍﹾ ﻋ‪‬ﻠﹶﻰ ﺍﻹِﺛﹾﻢﹺ ﻭ‪‬ﺍﻟﹾﻌ‪‬ﺪ‪‬ﻭ‪‬ﺍﻥ‪ ‬ﻭ‪‬ﺍﺗ‪‬ﻘﹸﻮﺍﹾ ﺍﻟﻠﹼﻪ‪‬‬
‫ﺇﹺﻥﱠ ﺍﻟﻠﹼﻪ‪ ‬ﺷ‪‬ﺪ‪‬ﻳﺪ‪ ‬ﺍﻟﹾﻌ‪‬ﻘﹶﺎﺏﹺ{‬
‫}ﻭ‪‬ﻗﹶﺎﻝﹶ ﺍﻟﹾﻤ‪‬ﻠ‪‬ﻚ‪ ‬ﺇﹺﻧ‪‬ﻲ ﺃﹶﺭ‪‬ﻯ ﺳ‪‬ﺒ‪‬ﻊ‪ ‬ﺑ‪‬ﻘﹶﺮ‪‬ﺍﺕ‪ ‬ﺳ‪‬ﻤ‪‬ﺎﻥ‪ ‬ﻳ‪‬ﺄﹾﻛﹸﻠﹸﻬ‪‬ﻦ‪ ‬ﺳ‪‬ـﺒ‪‬ﻊ‪ ‬ﻋ‪‬ﺠ‪‬ـﺎﻑ‪ ‬ﻭ‪‬ﺳ‪‬ـﺒ‪ ‬ﻊ‬
‫‪81‬‬ ‫‪43‬‬ ‫ﻳﻮﺳﻒ‬
‫ﺳ‪‬ﻨﺒ‪‬ﻼﹶﺕ‪ ‬ﺧ‪‬ﻀ‪‬ﺮﹴ ﻭ‪‬ﺃﹸﺧ‪‬ﺮ‪ ‬ﻳ‪‬ﺎﺑﹺﺴ‪‬ﺎﺕ‪ ‬ﻳ‪‬ﺎ ﺃﹶﻳ‪‬ﻬ‪‬ﺎ ﺍﻟﹾﻤ‪‬ﻸُ ﺃﹶﻓﹾﺘ‪‬ﻮﻧﹺﻲ ﻓ‪‬ﻲ ﺭ‪‬ﺅ‪‬ﻳ‪‬ﺎﻱ‪ ‬ﺇﹺﻥ ﻛﹸﻨﺘ‪‬ﻢ‪ ‬ﻟ‪‬ﻠﺮ‪‬ﺅ‪‬ﻳ‪‬ـﺎ‬

‫ﺗ‪‬ﻌ‪‬ﺒ‪‬ﺮ‪‬ﻭﻥﹶ{‬
‫}ﺍﻟﱠﺬ‪‬ﻱ ﺧ‪‬ﻠﹶﻖ‪ ‬ﺳ‪‬ﺒ‪‬ﻊ‪ ‬ﺳ‪‬ﻤ‪‬ﺎﻭ‪‬ﺍﺕ‪ ‬ﻃ‪‬ﺒ‪‬ﺎﻗﹰﺎ ﻣ‪‬ﺎ ﺗ‪‬ﺮ‪‬ﻯ ﻓ‪‬ﻲ ﺧ‪‬ﻠﹾﻖﹺ ﺍﻟﺮ‪‬ﺣ‪‬ﻤ‪‬ﻦﹺ ﻣ‪‬ﻦ ﺗ‪‬ﻔﹶﺎﻭ‪‬ﺕ‪ ‬ﻓﹶﺎﺭ‪‬ﺟﹺﻊﹺ‬
‫‪81‬‬ ‫‪03‬‬ ‫ﺍﳌﻠﻚ‬
‫ﺍﻟﹾﺒ‪‬ﺼ‪‬ﺮ‪ ‬ﻫ‪‬ﻞﹾ ﺗ‪‬ﺮ‪‬ﻯ ﻣ‪‬ﻦ ﻓﹸﻄﹸﻮﺭﹴ{‬
‫‪151‬‬ ‫}ﹸﻗﻞﹾ ﻳ‪‬ﺎ ﻗﹶﻮ‪‬ﻡﹺ ﺍﻋ‪‬ﻤ‪‬ﻠﹸﻮﺍﹾ ﻋ‪‬ﻠﹶﻰ ﻣ‪‬ﻜﹶﺎﻧ‪‬ﺘ‪‬ﻜﹸﻢ‪ ‬ﺇﹺﻧ‪‬ﻲ ﻋ‪‬ﺎﻣ‪‬ﻞﹲ ﻓﹶﺴ‪‬ﻮ‪‬ﻑ‪ ‬ﺗ‪‬ﻌ‪‬ﻠﹶﻤ‪‬ﻮﻥﹶ ﻣ‪‬ﻦ ﺗ‪‬ﻜﹸﻮﻥﹸ ﻟﹶـﻪ‪‬‬ ‫‪135‬‬ ‫ﺍﻷﻧﻌﺎﻡ‬
‫ﻋ‪‬ﺎﻗ‪‬ﺒ‪‬ﺔﹸ ﺍﻟﺪ‪‬ﺍﺭﹺ ﺇﹺﻧ‪‬ﻪ‪ ‬ﻻﹶ ﻳ‪‬ﻔﹾﻠ‪‬ﺢ‪ ‬ﺍﻟﻈﱠﺎﻟ‪‬ﻤ‪‬ﻮﻥﹶ{‬

‫‪- 195 -‬‬

 ‫‪ -3‬ﻓﻬﺮﺱ ﺍﻟﺮﻭﺍﺓ ‪:‬‬

‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﻟﻌﻨﻮﺍﻥ‬ ‫ﺍﻟﻮﻇﻴﻔﺔ‬ ‫ﺍﺳﻢ ﺍﻟﺮ‪‬ﺍﻭﻱ ﻭﻟﻘﺒﻪ‬

‫‪175-55-54‬‬ ‫ﺑﻠﺪﻳﺔ ﺑﺮﻫﻮﻡ‬ ‫ﻣﺘﻘﺎﻋﺪ‬ ‫ﺑﺮﺑﺎﺵ ﻣﺒﺎﺭﻙ‬

‫‪56‬‬ ‫ﺑﻠﺪﻳﺔ ﻭﻧﻮﻏﺔ‬ ‫ﺣﺪ‪‬ﺍﺩ‬ ‫ﺑﻦ ﺷﻮﻳﺦ ﺍﻟﺴﻌﻴﺪ‬
‫‪56‬‬ ‫ﺑﻠﺪﻳﺔ ﺃﻭﻻﺩ ﺩﺭ‪‬ﺍﺝ‬ ‫ﻣﺘﻘﺎﻋﺪ‬ ‫ﻋﻤ‪‬ﺎﺭﻱ ﺃﲪﺪ‬
‫‪-65-64-63‬‬ ‫ﺑﻠﺪﻳﺔ ﺑﺮﻫﻮﻡ‬ ‫ﺭﺑ‪‬ﺔ ﺑﻴﺖ‬ ‫ﺑﺮﺑﺎﺵ ﻋﺎﺋﺸﺔ‬
‫‪97-79-74‬‬
‫‪79-68‬‬ ‫ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ‬ ‫ﺗﺎﺟﺮ‬ ‫ﺍﳊﺎﺝ ﻋﻤ‪‬ﺎﺭ ﲞﱵ‬
‫‪80-79‬‬ ‫ﺑﻠﺪﻳﺔ ﻋﲔ ﺍﳋﻀﺮﺍﺀ‬ ‫ﺭﺑ‪‬ﺔ ﺑﻴﺖ‬ ‫ﺍﻋﺒﻴﺪ ﻓﻄﻴﻤﺔ‬
‫‪93‬‬ ‫ﺑﻠﺪﻳﺔ ﺍﳌﻌﺎﺿﻴﺪ‬ ‫ﺭﺑ‪‬ﺔ ﺑﻴﺖ‬ ‫ﻓﺮﺍﺣﺘﻴﺔ ﻟﻮﻳﺰﺓ‬
‫‪182-177-168‬‬ ‫ﺑﻠﺪﻳﺔ ﺑﺮﻫﻮﻡ‬ ‫ﺗﺎﺟﺮ‬ ‫ﻧﻮﻳﺮﻱ ﺍﻟﺰﻳﺘﻮﱐ‬
‫‪195-173‬‬ ‫ﺑﻠﺪﻳﺔ ﺍﻟﺪﻫﺎﻫﻨﺔ‬ ‫ﳎﺎﻫﺪ‬ ‫ﺑﺮﺑﺎﺵ ﳏﻤ‪‬ﺪ‬
‫‪186‬‬ ‫ﺑﻠﺪﻳﺔ ﺑﻮﺳﻌﺎﺩﺓ‬ ‫ﺭﺑ‪‬ﺔ ﺑﻴﺖ‬ ‫ﻋﺒﺪ ﺍﻟﻜﺮﱘ ﳝﻴﻨﺔ‬
‫‪191-189‬‬ ‫ﺑﻠﺪﻳﺔ ﺍﳌﻌﺎﺿﻴﺪ‬ ‫ﺭﺑ‪‬ﺔ ﺑﻴﺖ‬ ‫ﺷﺒﺎﲝﺔ ﻓﻄﻴﻤﺔ‬
‫‪193‬‬ ‫ﺑﻠﺪﻳﺔ ﻣﻘﺮﺓ‬ ‫ﺭﺑ‪‬ﺔ ﺑﻴﺖ‬ ‫ﺳﻌﺪﻱ ﺣﻮﺭﻳﺔ‬
‫‪200-199-198‬‬ ‫ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ‬ ‫ﻣ‪‬ﺬﻳﻊ‬ ‫ﺑﻮﺯﻳﺪ ﺭﲪﻮﻥ‬

‫‪- 196 -‬‬

 ‫ﻓﻬﺮﺱ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‬
‫ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﺑﺮﻭﺍﻳﺔ ﺣﻔﺺ‪ ،‬ﻣﺆﺳﺴﺔ ﻋﻠﻮﻡ ﺍﻟﻘﺮﺁﻥ ﻣﻨﺎﺭ ﻟﻠﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺩﻣﺸﻖ‪.‬‬
‫ﺃﻭ‪‬ﻻ ﺍﳌﺼﺎﺩﺭ‪:‬‬
‫‪ .1‬ﺍﺑﻦ ﺧﻠﺪﻭﻥ‪ ،‬ﺃﺑﻮ ﺯﻳﺪ ﻭﱄ ﺍﻟﺪﻳﻦ ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ ﺑﻦ ﳏﻤﺪ ﺍﳊﻀﺮﻣﻲ‪ :‬ﺍﳌﻘﺪﻣﺔ‪ ،‬ﲢﻘﻴﻖ‪:‬‬
‫ﺩﺭﻭﻳﺶ ﺍﳉﻮﻳﺪﻱ‪ ،‬ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ‪) ،‬ﺩ ﻁ(‪ ،‬ﺑﲑﻭﺕ‪.2002 ،‬‬
‫‪ : //‬ﺗﺎﺭﻳﺦ ﺍﺑﻦ ﺧﻠﺪﻭﻥ ﺍﳌﺴﻤﻰ ﺍﻟﻌﱪ ﻭﺩﻳﻮﺍﻥ ﺍﳌﺒﺘﺪﺃ ﻭﺍﳋﱪ ﰲ ﺃﻳﺎﻡ ﺍﻟﻌﺮﺏ‬ ‫‪//‬‬ ‫‪.2‬‬
‫ﻭﺍﻟﻌﺠﻢ ﻭﺍﻟﱪﺑﺮ ﻭﻣﻦ ﻋﺎﺻﺮﻫﻢ ﻣﻦ ﺫﻭﻱ ﺍﻟﺴﻠﻄﺎﻥ ﺍﻷﻛﱪ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﺳﻬﻴﻞ ﺯﻛﺎﺭ‪ ،‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ‪،‬‬
‫ﺑﲑﻭﺕ‪1421 ،‬ﻫـ‪2000/‬ﻡ‪) ،‬ﺩ ﻁ(‪.‬‬
‫‪ .3‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ ،‬ﺃﺑﻮ ﺍﻟﻔﻀﻞ ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﳏﻤﺪ ﺑﻦ ﻣﻜﺮﻡ ﺍﻷﻧﺼﺎﺭﻱ ﺍﻹﻓﺮﻳﻘﻲ ﺍﳌﺼﺮﻱ‪ :‬ﻟﺴﺎﻥ‬
‫ﺍﻟﻌﺮﺏ‪ ،‬ﺇﻋﺪﺍﺩ ﻭﺗﺼﻨﻴﻒ‪ :‬ﻳﻮﺳﻒ ﺧﻴ‪‬ﺎﻁ‪ ،‬ﻧﺪﱘ ﻣﺮﻋﺸﻠﻲ‪،‬ﺩﺍﺭ ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﺍ‪‬ﻠﺪ‪1‬‬
‫ﻭ‪) ،2‬ﺩ ﺕ(‪.‬‬
‫‪ .4‬ﺍﺑﻦ ﻣﻨﻈﻮﺭ‪ ،‬ﺃﺑﻮ ﺍﻟﻔﻀﻞ ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﳏﻤﺪ ﺑﻦ ﻣﻜﺮﻡ ﺍﻷﻧﺼﺎﺭﻱ ﺍﻹﻓﺮﻳﻘﻲ ﺍﳌﺼﺮﻱ‪ :‬ﻟﺴﺎﻥ‬
‫ﺍﻟﻌﺮﺏ‪،‬ﺩﺍﺭ ﺻﺎﺩﺭ ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪1300 ،1‬ﻫـ‪.‬‬
‫‪ .5‬ﺍﺑﻦ ﺳﻴﺪﻩ ﻋﻠﻲ ﺑﻦ ﺇﲰﺎﻋﻴﻞ‪ :‬ﺍﶈﻜﻢ ﻭﺍﶈﻴﻂ ﺍﻷﻋﻈﻢ ﰲ ﺍﻟﻠﻐﺔ‪،‬ﲢﻘﻴﻖ‪ :‬ﻋﺎﺋﺸﺔ ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ‬
‫ﺑﻨﺖ ﺍﻟﺸﺎﻃﺊ ‪ ،‬ﻁ‪) ،2‬ﺩ ﺕ(‪ ،‬ﺝ‪. 3‬‬
‫‪ .6‬ﺍﺑﻦ ﻋﺒﺪ ﺍﳊﻜﻢ ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ ﺑﻦ ﻋﺒﺪ ﺍﷲ‪ :‬ﻓﺘﻮﺡ ﺇﻓﺮﻳﻘﻴﺔ ﻭﺍﻷﻧﺪﻟﺲ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﻋﺒﺪ ﺍﷲ ﺃﻧﻴﺲ‬
‫ﺍﻟﻄﹼﺒﺎﻉ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﺑﲑﻭﺕ‪) ،‬ﺩ ﻁ(‪.1964 ،‬‬
‫‪ .7‬ﺍﺑﻦ ﻋﺬﺍﺭﻯ‪ ،‬ﺃﺑﻮ ﺍﻟﻌﺒﺎﺱ ﺃﲪﺪ ﺍﳌﺮﺍﻛﺸﻲ‪ :‬ﺍﻟﺒﻴﺎﻥ ﺍﳌﻐﺮﺏ ﰲ ﺃﺧﺒﺎﺭ ﺍﻷﻧﺪﻟﺲ ﻭﺍﳌﻐﺮﺏ‪،‬‬
‫ﲢﻘﻴﻖ‪ :‬ﺝ‪ ،‬ﺱ ﻛﻮﻻﻥ‪ ،‬ﻭﻟﻴﻔﻲ ﺑﺮﻭﻓﺎﻧﺴﺎﻝ‪ ،‬ﺩﺍﺭ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪1983 ،3‬ﻡ‪ ،‬ﺝ‪.1‬‬
‫‪ .8‬ﺍﻟﺒﻜﺮﻱ‪ ،‬ﺃﺑﻮ ﻋﺒﻴﺪ ﺍﷲ ﻋﺒﺪ ﺍﷲ ﺑﻦ ﻋﺰﻳﺰ‪ :‬ﺍﳌﻐﺮﺏ ﰲ ﺫﻛﺮ ﺑﻼﺩ ﺇﻓﺮﻳﻘﻴﺎ ﻭﺍﳌﻐﺮﺏ‪ ،‬ﲢﻘﻴﻖ‪:‬‬
‫ﺩﻭﺳﻼﻥ‪ ،‬ﻧﺸﺮ ﻣﻜﺘﺒﺔ ﺍﳌﺜﲎ‪ ،‬ﺑﻐﺪﺍﺩ‪) ،‬ﺩ ﻁ(‪) ،‬ﺩ ﺕ(‪.‬‬
‫‪ ://‬ﻣﻌﺠﻢ ﺍﻷﺩﺑﺎﺀ ﺩﺍﺭ ﺍﻟﻔﻜﺮ‪ ،‬ﺑﲑﻭﺕ‪) ،‬ﺩ ﻁ(‪) ،‬ﺩ ﺕ(‪.‬‬ ‫‪// .9‬‬
‫‪ : //‬ﺍﳌﺴﺎﻟﻚ ﻭﺍﳌﻤﺎﻟﻚ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﺃﺩﺭﻳﺎﻥ ﻓﺎﻥ ﻟﻴﻮﻓﻦ‪ ،‬ﺃﻧﺪﺭﻱ ﻓﲑﻱ‪ ،‬ﺍﻟﺪﺍﺭ‬ ‫‪// .10‬‬
‫ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﻜﺘﺎﺏ‪ ،‬ﺗﻮﻧﺲ‪ ،1992 ،‬ﺝ‪) ،2‬ﺩ ﻁ(‪.‬‬

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‫‪ .11‬ﺍﳊﻤﻮﻱ‪ ،‬ﺷﻬﺎﺏ ﺍﻟﺪﻳﻦ ﻋﺒﺪ ﺍﷲ ﻳﺎﻗﻮﺕ‪ :‬ﻣﻌﺠﻢ ﺍﻟﺒﻠﺪﺍﻥ‪ ،‬ﺩﺍﺭ ﺑﲑﻭﺕ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪،‬‬
‫ﺑﲑﻭﺕ‪1404،‬ﻫـ‪1984/‬ﻡ‪ ،‬ﺍ‪‬ﻠﺪ ‪) ،5‬ﺩ ﻁ(‪.‬‬
‫‪ .12‬ﺍﻹﻣﺎﻡ ﻣﺴﻠﻢ‪ ،‬ﺃﺑﻮ ﺍﳊﺴﻦ ﻣﺴﻠﻢ ﺑﻦ ﺣﺠﺎﺝ ﺑﻦ ﻣﺴﻠﻢ ﺍﻟﻘﺸﺮﻱ ﺍﻟﻨﻴﺴﺎﺑﻮﺭﻱ‪ :‬ﺻﺤﻴﺢ‬
‫ﺍﳌﺴﻤﻰ ﺍﳉﺎﻣﻊ ﺍﻟﺼﺤﻴﺢ‪ ،‬ﻟﺒﺎﺏ ﻓﻀﻞ ﺍﻻﺟﺘﻤﺎﻉ ﻋﻠﻰ ﺗﻼﻭﺓ ﺍﻟﻘﺮﺁﻥ ‪ ،‬ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ‪، ،‬ﻁ‪،1‬‬
‫ﺑﲑﻭﺕ ‪2001‬ﻡ‪،‬ﺝ‪.13‬‬
‫‪ .13‬ﺍﻟﻐﱪﻳﲏ ﺃﲪﺪ ﺃﺑﻮ ﺍﻟﻌﺒﺎﺱ‪ :‬ﻋﻨﻮﺍﻥ ﺍﻟﺪﺭﺍﻳﺔ ﻓﻴﻤﻦ ﻋ‪‬ﺮﻑ ﰲ ﺍﳌﺎﺋﺔ ﺍﻟﺴﺎﺑﻌﺔ ﺑﺒﺠﺎﻳﺔ‪ ،‬ﲢﻘﻴﻖ‪:‬‬
‫ﺭﺍﺑﺢ ﺑﻮﻧﺎﺭ‪ ،‬ﺍﻟﺸﺮﻛﺔ ﺍﻟﻮﻃﻨﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪ ،‬ﻁ‪1981 ،2‬ﻡ‪.‬‬
‫‪ .14‬ﺍﻟﻘﻠﻘﺸﻨﺪﻱ‪ ،‬ﺃﲪﺪ ﺑﻦ ﻋﻠﻲ‪ :‬ﺎﻳﺔ ﺍﻷﺭﺏ ﰲ ﻣﻌﺮﻓﺔ ﺃﻧﺴﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﺇﺑﺮﺍﻫﻴﻢ‬
‫ﺍﻷﻧﺒﺎﺭﻱ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻁ‪1959 ،1‬ﻡ‪.‬‬
‫‪ .15‬ﺍﻟﻘﲑﻭﺍﱐ‪ ،‬ﺃﺑﻮ ﻋﻠﻲ ﺍﳊﺴﻦ ﺍﺑﻦ ﺭﺷﻴﻖ‪ :‬ﺍﻟﻌﻤﺪﺓ ﰲ ﳏﺎﺳﻦ ﺍﻟﺸﻌﺮ ﻭ ﺃﺩﺍﺑﻪ ﻭ ﻧﻘﺪﻩ‪ ،‬ﲢﻘﻴﻖ‪:‬‬
‫ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻫﻨﺪﺍﻭﻱ‪ ،‬ﺍﳌﻜﺘﺒﺔ ﺍﻟﻌﺼﺮﻳﺔ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪1424 ،1‬ﻫـ‪2004/‬ﻡ‪ ،‬ﺝ‪.1‬‬
‫‪ .16‬ﺍﳌﻨﺠﺪ ﺍﻷﲜﺪﻱ‪ ،‬ﺩﺍﺭ ﺍﳌﺸﺮﻕ؛ ﺑﲑﻭﺕ‪ ،‬ﻁ‪.5‬‬
‫‪ .17‬ﺍﻟﻮﺯﺍﻥ‪ ،‬ﺍﳊﺴﻦ ﺑﻦ ﳏﻤﺪ ﺍﻟﻔﺎﺳﻲ‪ :‬ﻭﺻﻒ ﺇﻓﺮﻳﻘﻴﺔ‪ ،‬ﺗﺮﲨﺔ‪ :‬ﳏﻤﺪ ﺣﺠﻲ‪ ،‬ﳏﻤﺪ ﺍﻷﺧﻀﺮ‪،‬‬
‫ﺑﲑﻭﺕ‪) ،1983 ،‬ﺩ ﻁ(‪.‬‬
‫‪.19‬ﻣﺆﺭﺥ ﳎﻬﻮﻝ‪ :‬ﺍﻻﺳﺘﺒﺼﺎﺭ ﰲ ﻣﻌﺮﻓﺔ ﺍﻷﻣﺼﺎﺭ)ﻭﺻﻒ ﻣﻜﺔ ﻭﺍﳌﺪﻳﻨﺔ ﻭﻣﺼﺮ ﻭﺑﻼﺩ ﺍﳌﻐﺮﺏ(‬
‫ﺗﻌﻠﻴﻖ‪ :‬ﺳﻌﺪ ﺯﻏﻠﻮﻝ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺩﺍﺭ ﺍﻟﺸﺆﻭﻥ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﺑﻐﺪﺍﺩ‪،،‬ﻁ‪ ،2‬ﺩﺍﺭ ﺍﻟﻨﺸﺮ ﺍﳌﻌﺮﻓﻴﺔ‪ ،‬ﺍﻟﺪﺍﺭ‬
‫ﺍﻟﺒﻴﻀﺎﺀ‪) ،‬ﺩ ﻁ(‪1986،‬ﻡ‪.‬‬
‫ﺛﺎﻧﻴﺎ‪ :‬ﺍﳌﺮﺍﺟﻊ‪:‬‬
‫ﺃ‪-‬ﺍﳌﺮﺍﺟﻊ ﺫﺍﺕ ﺍﻟﺼﻠﺔ ﺍﳌﺒﺎﺷﺮﺓ ﺑﺎﻷﺩﺏ ﺍﻟﺸﻌﱯ‪:‬‬
‫‪.‬ﺃﲪﺪ ﺭﺷﺪﻱ ﺻﺎﱀ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪ ،‬ﻣﻜﺘﺒﺔ ﺍﻟﻨﻬﻀﺔ ﺍﳌﺼﺮﻳﺔ‪) ،‬ﺩ ﻁ(‪) ،‬ﺩ ﺕ(‪.‬‬ ‫‪.1‬‬
‫‪.‬ﺍﻟﺘﻠﻲ ﺑﻦ ﺍﻟﺸﻴﺦ‪ :‬ﻣﻨﻄﻠﻘﺎﺕ ﺍﻟﺘﻔﻜﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻮﻃﻨﻴﺔ ﻟﻠﻔﻨﻮﻥ‬ ‫‪.2‬‬
‫ﺍﳌﻄﺒﻌﻴﺔ‪،‬ﺍﳉﺰﺍﺋﺮ‪ )،1990،‬ﺩ ﻁ(‪.‬‬
‫ﺛﺮﻳﺎ ﺍﻟﺘﻴﺠﺎﱐ‪ :‬ﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻐﻮﻳﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﻣﻨﻄﻘﺔ ﺍﳉﻨﻮﺏ ﺍﳉﺰﺍﺋﺮﻱ ﻭﺍﺩﻱ‬ ‫‪.3‬‬
‫ﺳﻮﻑ ﳕﻮﺫﺟﺎ‪ ،‬ﺩﺍﺭ ﻫﻮﻣﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ ﻁ(‪)،‬ﺩ ﺕ(‪.‬‬
‫ﺭﺍﺑﺢ ﺍﻟﻌﻮﰊ‪ :‬ﺃﻧﻮﺍﻉ ﺍﻟﻨﺜﺮ ﺍﻟﺸﻌﱯ‪ :‬ﻣﻨﺸﻮﺭﺍﺕ ﺟﺎﻣﻌﻴﺔ‪،‬ﺑﺎﺟﻲ ﳐﺘﺎﺭ‪ ،‬ﻋﻨﺎﺑﺔ‪) ،‬ﺩ ﻁ(‪) ،‬ﺩ ﺕ(‪.‬‬ ‫‪.4‬‬

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‫‪ .5‬ﺭﻭﺯﻟﲔ ﻟﻴﻠﻲ ﻗﺮﻳﺶ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ ﺍﻟﻌﺮﰊ‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ‬
‫ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،1980،‬ﺩ ﻁ(‪.‬‬
‫‪. .6‬ﳏﻤﺪ ﺃﲪﺪ ﺷﻬﺎﺏ‪ :‬ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺩﺍﺭ ﺍﺑﻦ ﺧﻠﺪﻭﻥ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪.1980 ،1‬‬
‫‪ .7‬ﳏﻤﺪ ﺳﻌﻴﺪﻱ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‬
‫ﻁ(‪) ،‬ﺩ ﺕ(‪.‬‬
‫‪ : //‬ﺩﻭﺭ ﺍﻟﺸﻌﺮ ﺍﳉﺰﺍﺋﺮﻱ ﰲ ﺍﻟﺜﻮﺭﺓ )‪ ،(1945-1830‬ﺍﻟﺸﺮﻛﺔ ﺍﻟﻮﻃﻨﻴﺔ‬ ‫‪// .8‬‬
‫ﻟﻠﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،1983 ،‬ﺩ ﻁ(‪.‬‬
‫‪ .9‬ﻧﺎﺩﻳﺔ ﺍﻟﺪﻣﺮﺩﺍﺵ‪ ،‬ﻋﻼ ﺗﻮﻓﻴﻖ‪ :‬ﻣﺪﺧﻞ ﺇﱃ ﻋﻠﻢ ﺍﻟﻔﻠﻜﻠﻮﺭ‪ ،‬ﺩﺭﺍﺳﺔ ﰲ ﺍﻟﺮﻗﺺ ﺍﻟﺸﻌﱯ‪ ،‬ﻋﲔ‬
‫ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﺒﺤﻮﺙ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻹﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﺍﳍﺮﻡ‪ ،‬ﻁ‪1423 ،1‬ﻫـ‪2003/‬ﻡ‪.‬‬
‫‪ .10‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ ‪ :‬ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ‪،‬ﺩﺍﺭ ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ ﻟﻠﻄﺒﺎﻋﺔ ﺍﻟﻘﺎﻫﺮﺓ‪،‬ﻁ‪،1‬‬
‫‪1991‬ﻡ‪.‬‬
‫‪ : //‬ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﱯ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺇﱃ ﺍﻟﻮﺍﻗﻌﻴﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻌﻮﺩﺓ‪ ،‬ﺑﲑﻭﺕ‪،‬‬ ‫‪// .11‬‬
‫‪1974‬ﻡ‪)،‬ﺩ‬
‫ﻁ(‪.‬‬
‫‪: //‬ﻓﻦ ﺍﻟﻘﺺ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭﺍﻟﺘﻄﺒﻴﻖ‪ ,‬ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ‪ ،‬ﺩﺍﺭ ﻗﺒﺎﺀ‬ ‫‪// .12‬‬
‫ﻟﻠﻄﺒﺎﻋﺔ‪).‬ﺩﻁ(‪),‬ﺩﺕ(‪.‬‬
‫‪ .13‬ﳕﺮ ﺳﺮﺣﺎﻥ‪ :‬ﺃﻏﺎﻧﻴﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﻟﻀﻔﺔ ﺍﻟﻐﺮﺑﻴﺔ ﻣﻦ ﺍﻷﺭﺩﻥ‪،‬ﲨﻌﻴﺔ ﺍﳌﻄﺎﺑﻊ ﺍﻟﺘﻌﺎﻭﻧﻴﺔ‪،‬‬
‫ﺍﻷﺭﺩﻥ‪)،‬ﺩ ﻁ(‪)،‬ﺩﺕ(‪.‬‬
‫‪ :// // .14‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻔﻠﺴﻄﻴﻨﻴﺔ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺑﲑﻭﺕ‪)،‬ﺩ‬
‫ﻁ(‪) ،‬ﺩﺕ(‪.‬‬
‫‪ .15‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ :‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪،‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﰊ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪,‬‬
‫ﻁ‪.1968،1‬‬
‫‪ .16‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪ :‬ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ‪،‬ﺩﺍﺭ ﺍﻟﻘﺼﺒﺔ ﻟﻠﻨﺸﺮ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،2007،‬ﺩ‬
‫ﻁ(‪.‬‬
‫‪ : //‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺑﺴﻜﺮﺓ‪ ،‬ﺩﺭﺍﺳﺔ ﻣﻴﺪﺍﻧﻴﺔ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻮﻃﻨﻴﺔ‬ ‫‪// .17‬‬
‫ﻟﻠﻜﺘﺎﺏ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،1986 ،‬ﺩ ﻁ(‪.‬‬

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‫‪ : // // .18‬ﺍﻟﺒﻄﻞ ﺍﳌﻠﺤﻤﻲ ﻭﺍﻟﺒﻄﻞ ﺍﻟﻀﺤﻴﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﺸﻔﻮﻱ ﺍﳉﺰﺍﺋﺮﻱ‪ ،‬ﺩﺭﺍﺳﺎﺕ‬
‫ﺣﻮﻝ ﺧﻄﺎﺏ ﺍﳌﺮﻭﻳﺎﺕ ﺍﻟﺸﻔﻮﻳﺔ‪ ،‬ﺍﻷﺩﺍﺀ‪ ،‬ﺍﻟﺸﻜﻞ‪ ،‬ﺍﻟﺪﻻﻟﺔ‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺑﻦ‬
‫ﻋﻜﻨﻮﻥ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،1998 ،‬ﺩ ﻁ(‪.‬‬
‫‪ .19‬ﻋﺒﺪ ﺍﻟﺮﲪﺎﻥ ﺍﻟﺴﺎﺭﻳﺲ‪ :‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﻟﻔﻠﺴﻄﻴﲏ ‪،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻌﺎﳌﻴﺔ‬
‫ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﻁ‪.1986 ،1‬‬
‫‪ .20‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ ﻋﻨﺪ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﺭﺍﺳﺔ ‪‬ﻤﻮﻋﺔ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﻭﺍﳌﻌﺘﻘﺪﺍﺕ‬
‫ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﺘﻮﻧﺴﻴﺔ‪،‬ﺟﺎﻣﻌﺔ ﺍﳉﺰﺍﺋﺮ‪2003،‬ﻡ‪) ،‬ﺩ ﻁ(‪.‬‬
‫‪ .21‬ﻋﺰ ﺍﻟﺪﻳﻦ ﺇﲰﺎﻋﻴﻞ‪ :‬ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﺒﻴﺔ ﰲ ﺍﻟﺴﻮﺩﺍﻥ‪،‬ﺩﺍﺭﺳﺔ ﰲ ﻓﻨﻴﺔ ﺍﳊﻜﺎﻳﺔ ﻭﻭﻇﻴﻔﺘﻬﺎ‪،‬ﺍﳍﻴﺌﺔ‬
‫ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﺘﺄﻟﻴﻒ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ) ،1971،‬ﺩ ﻁ(‪.‬‬
‫‪ .22‬ﻓﺎﺭﻭﻕ ﺧﻮﺭﺷﻴﺪ ‪ :‬ﺃﺩﺏ ﺍﻟﺴﲑﺓ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻨﺎﺷﺮ‪ ،‬ﻣﻜﺘﺒﺔ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺪﻳﻨﻴﺔ ‪)،‬ﺩ ﻁ(‪) ،‬ﺩ‬
‫ﺕ(‬
‫‪ .23‬ﻓﻮﺯﻱ ﺍﻟﻌﻨﺘﻴﻞ‪ :‬ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﻣﺎ ﻫﻮ ؟ ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ‪ ،‬ﺩﺍﺭ ﺍﳌﺴﲑﺓ‪ ،‬ﻣﻜﺘﺒﺔ‬
‫ﻣﺪﺑﻮﱄ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ ‪،‬ﻁ‪2،1407‬ﻫـ‪1987-‬ﻡ‪.‬‬
‫‪ .24‬ﺳﻌﻴﺪ ﻳﻘﻄﲔ‪ :‬ﻗﺎﻝ ﺍﻟﺮﺍﻭﻱ‪ ،‬ﺍﻟﺒﻨﻴﺎﺕ ﺍﳊﻜﺎﺋﻴﺔ ﰲ ﺍﻟﺴﲑﺓ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ‪،‬‬
‫ﺍﻟﺪﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ‪ ،‬ﻁ‪.1997 ،1‬‬
‫ﺏ‪ -‬ﺍﳌﺮﺍﺟﻊ ﺫﺍﺕ ﺍﻟﺼﻠﺔ ﻏﲑ ﺍﳌﺒﺎﺷﺮﺓ ﺑﺎﻷﺩﺏ ﺍﻟﺸﻌﱯ‪:‬‬
‫ﺃﲪﺪ ﲪﺪ ﺍﻟﻨﻌﻴﻤﻲ ‪ :‬ﺇﻳﻘﺎﻉ ﺍﻟﺰﻣﻦ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭ‬ ‫‪.1‬‬
‫ﺍﻟﻨﺸﺮ ﻁ‪2004 ،1‬ﻡ‪.‬‬
‫ﺇﺩﺭﻳﺲ ﺑﻮﺩﺑﻴﺔ ‪ :‬ﺍﻟﺮﺅﻳﺔ ﻭﺍﻟﺒﻨﻴﺔ ﰲ ﺭﻭﺍﻳﺎﺕ ﺍﻟﻄﺎﻫﺮ ﻭﻃﺎﺭ‪ ،‬ﻁ‪ 1‬ﻗﺴﻨﻄﻴﻨﺔ‪2000 ،‬ﻡ‪.‬‬ ‫‪.2‬‬
‫ﺑﺸﲑ ﺧﻠﺪﻭﻥ‪ :‬ﺍﳊﺮﻛﺔ ﺍﻟﻨﻘﺪﻳﺔ ﻋﻠﻰ ﺃﻳﺎﻡ ﺍﺑﻦ ﺭﺷﻴﻖ‪ ،‬ﺍﻟﺸﺮﻛﺔ ﺍﻟﻮﻃﻨﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،1981 ،‬ﺩ‬ ‫‪.3‬‬
‫ﻁ(‪.‬‬
‫ﲪﻴﺪ ﳊﻤﺪﺍﱐ‪ :‬ﺑﻨﻴﺔ ﺍﻟﻨ‪‬ﺺ ﺍﻟﺴ‪‬ﺮﺩﻱ ﰲ ﻣﻨﻈﻮﺭ ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ ﻟﻠﻄﺒﺎﻋﺔ‬ ‫‪.4‬‬
‫ﻭﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪2،1993‬ﻡ‪.‬‬
‫ﺣﺴﻦ ﲝﺮﺍﻭﻱ ‪ :‬ﺑﻨﻴﺔ ﺍﻟﺸﻜﻞ ﺍﻟﺮﻭﺍﺋﻲ‪ ،‬ﺍﻟﻔﻀﺎﺀ ﺍﻟﺰﻣﻦ‪،‬ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﻁ ‪1‬‬ ‫‪.5‬‬
‫‪1990‬ﻡ‬

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‫‪ .6‬ﳏﻤﺪ ﺍﻟﺒﺸﲑ ﺷﻨﻴﲏ ‪ :‬ﺍﳉﺰﺍﺋﺮ ﰲ ﻇﻞ ﺍﻻﺣﺘﻼﻝ ﺍﻟﺮﻭﻣﺎﱐ – ﲝﺚ ﰲ ﻣﻨﻈﻮﻣﺔ ﺍﻟﺘﺤﻜﻢ‬
‫ﺍﻟﻌﺴﻜﺮﻱ‪)-‬ﺍﻟﻠﻴﻤﺲ ﺍﳌﻮﺭﻳﻄﺎﱐ ﻭﻣﻘﺎﻭﻣﺔ ﺍﻟﺮﻭﻡ(‪،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ ‪،‬ﺍﳉﺰﺍﺋﺮ ‪)،‬ﺩ‬
‫ﻁ(‪) ،‬ﺩ ﺕ(‪.‬‬
‫‪ .7‬ﳏﻤﺪ ﻏﻨﻴﻤﻲ ﻫﻼﻝ‪ :‬ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻌﻮﺩﺓ‪ ،‬ﺑﲑﻭﺕ‪)،1983 ،‬ﺩ ﻁ(‪.‬‬
‫‪ .8‬ﳏﻤﺪ ﺍﳍﺎﺩﻱ ﺍﻟﻌﺎﻣﺮﻱ‪ :‬ﺍﻟﻘﺼﺔ ﺍﻟﺘﻮﻧﺴﻴﺔ ﺍﻟﻘﺼﲑﺓ‪ ،‬ﺩﺍﺭ ﺑﻮﺳﻼﻣﺔ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺗﻮﻧﺲ‬
‫)ﺩ‪.‬ﻁ( ‪1980‬ﻡ‪.‬‬
‫‪ .9‬ﺳﻴﺰﺍ ﺃﲪﺪ ﻗﺎﺳﻢ‪ :‬ﺑﻨﺎﺀ ﺍﻟﺮ‪‬ﻭﺍﻳﺔ‪ ،‬ﺩﺭﺍﺳﺔ ﻣﻘﺎﺭﻧﺔ ﰲ ﺛﻼﺛﻴﺔ ﳒﻴﺐ ﳏﻔﻮﻅ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪،1‬‬
‫‪1985‬ﻡ‬
‫‪ .10‬ﺻﺎﱀ ﺇﺑﺮﺍﻫﻴﻢ‪ :‬ﺍﻟﻔﻀﺎﺀ ﻭﻟﻐﺔ ﺍﻟﺴﺮﺩ ﰲ ﺭﻭﺍﻳﺎﺕ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻣﻨﻴﻒ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ‬
‫ﺍﻟﻌﺮﰊ‪،‬ﺑﲑﻭﺕ ﻟﺒﻨﺎﻥ ﻁ‪) ،1‬ﺩﺕ(‪.‬‬
‫‪ .11‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺍﻟﻘﺼﺔ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﻟﻘﺪﱘ‪،‬ﺩﺍﺭ ﻣﻜﺘﺒﺔ ﺍﻟﺸﺮﻛﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﻟﻠﺘﺄﻟﻴﻒ‬
‫ﻭﺍﻟﺘﺮﲨﺔ ﻭﺍﻟﻄﺒﺎﻋﺔ ﻭﺍﻟﺘﻮﺯﻳﻊ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،1968،‬ﺩ ﻁ(‪. .‬‬
‫‪ .12‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﺑﻮﺭﺍﻳﻮ‪:‬ﻣﻨﻄﻖ ﺍﻟﺴﺮﺩ‪ ،‬ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﻟﻘﺼﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺍﳊﺪﻳﺜﺔ‪،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ‬
‫ﺍﳉﺎﻣﻌﻴﺔ ﺑﻦ ﻋﻜﻨﻮﻥ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ ﻁ(‪) ،‬ﺩ ﺕ(‪.‬‬
‫‪ .13‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﺃﻟﻒ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ )ﲢﻠﻴﻞ ﺳﻴﻤﻴﺎﺋﻲ ﺗﻔﻜﻴﻜﻲ ﳊﻜﺎﻳﺔ ﲨﺎﻝ ﺑﻐﺪﺍﺩ(‪،‬‬
‫ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪)،‬ﺩ‪.‬ﻁ(‪1993 ،‬ﻡ‬
‫‪ .14‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﰲ ﻧﻈﺮﻳﺔ ﺍﻟﺮﻭﺍﻳﺔ ‪ ،‬ﲝﺚ ﰲ ﺗﻘﻨﻴﺎﺕ ﺍﻟﺴﺮﺩ‪ ،‬ﻋﺎﱂ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﺍﻟﻜﻮﻳﺖ‪،‬‬
‫ﺩﻳﺴﻤﱪ ‪1998‬ﻡ‪) ،‬ﺩ ﻁ(‪.‬‬
‫‪ .15‬ﻋﺒﺪ ﺍﳌﺎﻟﻚ ﻣﺮﺗﺎﺽ‪ :‬ﻓﻨﻮﻥ ﺍﻟﻨﺜﺮ ﺍﻷﺩﰊ ﰲ ﺍﳉﺰﺍﺋﺮ)‪1954-1991‬ﻡ(‪ ،‬ﺩﻳﻮﺍﻥ ﺍﳌﻄﺒﻮﻋﺎﺕ‬
‫ﺍﳉﺎﻣﻌﻴﺔ‪ ،‬ﻣﻄﺎﺑﻊ ﻣﺆﺳﺴﺔ ﺍﻟﻜﺮﻣﺔ ﺍﳉﺰﺍﺋﺮ ‪ 1983‬ﻡ‪.‬‬
‫‪ .16‬ﻳﻮﺳﻒ ﺍﻟﻘﺮﺿﺎﻭﻱ‪ :‬ﻏﲑ ﺍﳌﺴﻠﻤﲔ ﰲ ﺍ‪‬ﺘﻤﻊ ﺍﻹﺳﻼﻣﻲ‪ ،‬ﺩﺍﺭ ﺍﻟﺸﻬﺎﺏ‪ ،‬ﺑﺎﺗﻨﺔ‪ ،‬ﺍﳉﺰﺍﺋﺮ‪) ،‬ﺩ‬
‫ﻁ(‪) ،‬ﺩ ﺕ(‪.‬‬
‫ﺛﺎﻟﺜﺎ‪ :‬ﺍﳌﺮﺍﺟﻊ ﺍﳌﺘﺮﲨﺔ‪:‬‬
‫‪ .1‬ﻏﺎﺳﺘﻮﻥ ﺑﺎﺷﻼﺭ ‪ :‬ﲨﺎﻟﻴﺎﺕ ﺍﳌﻜﺎﻥ‪ ،‬ﺗﺮﲨﺔ‪ :‬ﻏﺎﻟﺐ ﻫﺴﺘﺎ‪ ،‬ﺍﳌﺆﺳﺴﺔ ﺍﳉﺎﻣﻌﻴﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ‬
‫ﻭﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪1989 ،3‬ﻡ‪،‬‬

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‫‪ .2‬ﻓﻮﻥ ﺩﻳﺮ ﻻﻳﻦ‪ :‬ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻧﺸﺄ‪‬ﺎ‪ ،‬ﻣﻨﺎﻫﺞ ﺩﺭﺍﺳﺘﻬﺎ‪،‬ﻓﻨﻴﺘﻬﺎ‪ ،‬ﺗﺮﲨﺔ‪ :‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪،‬‬
‫ﻣﻜﺘﺒﺔ ﻏﺮﻳﺐ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪) ،‬ﺩ ﻁ(‪)،‬ﺩ ﺕ(‪.‬‬

‫ﺭﺍﺑﻌﺎ‪ :‬ﺍﳌﺮﺍﺟﻊ ﺍﻷﺟﻨﺒﻴﺔ‬

‫‪1.vayssette,(E):De M'sila a Boussaàda,in R.A,18‬‬

‫‪2.Maguelonne,j:Monographie de M'sila geographique et Historique‬‬
‫‪de le trilru du hodna oriental in .R.S.A.C,1909.‬‬

‫ﺧﺎﻣﺴﺎ‪ :‬ﺍﻟﺮﺳﺎﺋﻞ ﺍﳉﺎﻣﻌﻴﺔ‪:‬‬

‫‪.1‬ﻛﻤﺎﻝ ﺑﲑﻡ‪ :‬ﺑﻠﺪﻳﺔ ﺍﳌﺴﻴﻠﺔ ﺍﳌﺨﺘﻠﻄﺔ )ﺩﺭﺍﺳﺔ ﺍﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ ﺑﲔ ‪1884‬ﻡ‪1945-‬ﻡ(‪،‬‬
‫ﺇﺷﺮﺍﻑ ﺣﺪ‪‬ﺍﺩ ﻣﺼﻄﻔﻰ‪ ،‬ﺭﺳﺎﻟﺔ ﻣﺎﺟﺴﺘﲑ ﻏﲑ ﻣﻨﺸﻮﺭﺓ‪ ،‬ﻛﻠﻴﺔ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪،‬‬
‫ﻣﻌﻬﺪ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﺟﺎﻣﻌﺔ ﻗﺴﻨﻄﻴﻨﺔ‪2006 ،‬ﻡ‪.‬‬
‫‪.2‬ﻧﺎﺻﺮ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ‪ :‬ﻛﻠﻴﻠﺔ ﻭﺩﻣﻨﺔ ﺷﻌﺒﻴﺘﻬﺎ ﻭﻣﻮﺍﻗﻒ ﺇﻧﺴﺎ‪‬ﺎ ﺍﻟﺸﻌﱯ ﻭﻃﺮﺍﺋﻘﻪ ﻣﻦ ﺧﻼﳍﺎ‪،‬‬
‫ﺇﺷﺮﺍﻑ ﺭﻭﺯﻟﲔ ﻟﻴﻠﻰ ﻗﺮﻳﺶ‪ ،‬ﺭﺳﺎﻟﺔ ﻣﺎﺟﺴﺘﲑ ﻏﲑ ﻣﻨﺸﻮﺭﺓ‪ ،‬ﺟﺎﻣﻌﺔ ﺍﳉﺰﺍﺋﺮ‪2003 ،‬ﻡ‪.‬‬
‫ﺳﺎﺩﺳﺎ‪ :‬ﺍ‪‬ﻼﺕ ﻭﺍﻟﺪﻭﺭﻳﺎﺕ‪:‬‬
‫‪ .1‬ﺃﲪﺪ ﺯﻳﺎﺩ ﳏﺒﻚ‪ :‬ﳎﻠﺔ ﺍﻟﺜﻘﺎﻓﺔ ‪،‬ﺣﻠﺐ‪ ،‬ﺍﻟﻌﺪﺩ‪ ،93‬ﻳﻮﻧﻴﻮ ‪1984‬ﻡ‪.‬‬
‫‪ .2‬ﺻﺒﺤﻲ ﺣﺪﻳﺪﻱ‪ :‬ﳎﻤﻊ ﺍﻷﺳﺮﺍﺭ‪ ،‬ﺟﺪﻝ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﳎﻠﺔ ﺍﻟﻄﺮﻳﻖ‪،‬ﺑﲑﻭﺕ‪ ،‬ﺍﻟﻌﺪﺩ‬
‫ﺍﻷﻭﻝ‪ ،‬ﺍﻟﺴﻨﺔ ﺍﻟﺴﺘﻮﻥ‪ ،‬ﻓﱪﺍﻳﺮ ‪2001‬ﻡ‪.‬‬
‫‪ .3‬ﻭﺩﻳﻌﺔ ﻃﻪ ﳒﻢ‪ :‬ﺍﻟﺮﻣﺰ ﺑﺎﳊﻴﻮﺍﻥ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﻟﻘﺪﱘ‪ ،‬ﳎﻠﺔ ﺍﻟﻌﺮﰊ ‪،‬ﺍﻟﻌﺪﺩ ‪ ،316‬ﻭﺯﺍﺭﺓ‬
‫ﺍﻹﻋﻼﻡ‪ ،‬ﺍﻟﻜﻮﻳﺖ‪ ،‬ﻣﺎﺭﺱ‪.1985 ،‬‬

‫ﺳﺎﺑﻌﺎ‪ :‬ﺍﳌﻮﺍﻗﻊ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ‪:‬‬

‫‪1.htt://ar-wikipedia.org/wiki/31‬‬

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 ‫ﻓﻬﺮﺱ ﺍﳌﻮﺿﻮﻋﺎﺕ‬
‫ﺍﻟﺼﻔﺤﺔ‬ ‫ﺍﳌﻮﺿﻮﻉ‬
‫ﺃ‬ ‫ﻣﻘﺪ‪‬ﻣﺔ‪...............................................................................................................................:‬‬

‫ﺍﻟﻔﺼﻞ ﺍﻟﺘﻤﻬﻴﺪﻱ ‪ :‬ﻣﺎﻫﻴﺔ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬

‫‪7‬‬ ‫ﺃﻭ‪‬ﻻ ‪-‬ﺗﻌﺮﻳﻒ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪...........................................................................................‬‬
‫‪7‬‬ ‫‪ - 1‬ﻟﻐﺔ‪......................................................................................................................... :‬‬
‫‪8‬‬ ‫‪ - 2‬ﺍﺻﻄﻼﺣﺎ‪.............................................................................................................. :‬‬
‫‪11‬‬ ‫ﺛﺎﻧﻴﺎ ‪ -‬ﻧﺸﺄﺓ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪.......................................................................................... :‬‬
‫‪14‬‬ ‫ﺛﺎﻟﺜﺎ ‪ -‬ﻋﻨﺎﺻﺮ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪....................................................................................... :‬‬
‫‪22‬‬ ‫ﺭﺍﺑﻌﺎ ‪-‬ﺃﻧﻮﺍﻉ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪........................................................................................... :‬‬
‫‪23‬‬ ‫‪ - 1‬ﺍﳊﻜﺎﻳﺔ ﺍﳌﺜﻠﻴﺔ‪........................................................ ............................................ :‬‬
‫‪24‬‬ ‫‪ - 2‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺮﻳﺔ‪............................................................................................... :‬‬
‫‪24‬‬ ‫‪ - 3‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﻠﻐﺰﻳﺔ ‪............................................. .................................................... :‬‬
‫‪25‬‬ ‫‪ - 4‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﻨﻜﺘﻴﺔ‪.................................................................................................. :‬‬
‫‪28‬‬ ‫ﺧﺎﻣﺴﺎ ‪ -‬ﻣﻘﻮﻣﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭ ﳑﻴﺰﺍ‪‬ﺎ‪......................................................................:‬‬
‫‪28‬‬ ‫‪- 1‬ﻣﻘﻮﻣﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪.................................................................................... :‬‬
‫‪28‬‬ ‫ﺃ ‪ -‬ﺣﺒﻜﺔ ﺍﻟﺘﺄﻟﻴﻒ ‪................................................................... ................................. :‬‬
‫‪29‬‬ ‫ﺏ ‪ -‬ﺭﻣﻮﺯ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪..................................................................................... :‬‬
‫‪30‬‬ ‫ﺝ ‪ -‬ﺍﻟﺘﺠﺴﻴﺪ‪....................................................... ...................................................... :‬‬
‫‪30‬‬ ‫ﺩ ‪ -‬ﺍﳌﻘﺪﺭﺓ ﺍﻟﻠﻐﻮﻳﺔ ‪................................................................................................... :‬‬
‫‪31‬‬ ‫‪ - 2‬ﳑﻴﺰﺍﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪..................................................... ...................................‬‬
‫‪33‬‬ ‫ﺳﺎﺩﺳﺎ ‪ -‬ﻣﻨﻄﻠﻘﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪.................................................................................... :‬‬
‫‪36‬‬ ‫ﺳﺎﺑﻌﺎ ‪-‬ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ‪................................................ ............................................ :‬‬

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 ‫ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ ‪ :‬ﺑﻴﺌﺔ ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ‪:‬‬
‫‪40‬‬ ‫‪.................................................................................‬‬ ‫ﺃﻭ‪‬ﻻ ‪ -‬ﺍﻹﻃﺎﺭ ﺍﳉﻐﺮﺍﰲ ﳌﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪:‬‬
‫‪40‬‬ ‫‪ - 1‬ﺍﻟﺘﺴﻤﻴﺔ ‪................................................................................... ............................. :‬‬
‫‪41‬‬ ‫‪ - 2‬ﺍﳌﻮﻗﻊ ﻭﺍﳊﺪﻭﺩ ﻭ ﺍﻷﻗﺎﻟﻴﻢ ‪.................................................................................... :‬‬
‫‪43‬‬ ‫ﺛﺎﻧﻴﺎ ‪ -‬ﺍﻹﻃﺎﺭ ﺍﻟﺘﺎﺭﳜﻲ ﳌﻨﻄﻘﺔ ﺍﳌﺴﻴﻠﺔ‪.....................................................................................:‬‬
‫‪44‬‬ ‫‪ - 1‬ﺍﻟﻘﺪﻡ ﺍﻟﺘﺎﺭﳜﻲ ﻟﻠﻤﺴﻴﻠﺔ )ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ(‪..........................................................:‬‬
‫‪45‬‬ ‫‪ - 2‬ﺍﻟﻔﺘﺮﺓ ﺍﻹﺳﻼﻣﻴﺔ‪.................................................................................................... :‬‬
‫‪49‬‬ ‫‪ - 3‬ﻓﺘﺮﺓ ﺍﻹﺳﺘﻌﻤﺎﺭ ﺍﻟﻔﺮﻧﺴﻲ‪........................................................................................ :‬‬
‫‪51‬‬ ‫ﺛﺎﻟﺜﺎ ‪-‬ﺍﻹﻃﺎﺭ ﺍﻟﻔﻠﻜﻠﻮﺭﻱ ﻟﻠﻤﻨﻄﻘﺔ ‪............................................. .................................................... :‬‬
‫‪51‬‬ ‫‪ - 1‬ﺗﻌﺮﻳﻒ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪........................................................................... ........................... :‬‬
‫‪53‬‬ ‫‪ - 2‬ﻣﻈﺎﻫﺮ ﺍﻟﻔﻮﻟﻜﻠﻮﺭ ﰲ ﺍﳌﻨﻄﻘﺔ‪........................................................................................‬‬
‫‪54‬‬ ‫ﺃ‪ -‬ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ‪.................................................................................................... :‬‬
‫‪58‬‬ ‫ﺏ‪ -‬ﺍﻟﻔﻨﻮﻥ ﻭ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪.................................................................................. :‬‬
‫‪77‬‬ ‫ﺝ‪ -‬ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ‪.................................................................................................... :‬‬

‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﱐ‪ :‬ﻃﺎﺑﻊ ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ‬

‫‪84‬‬ ‫ﺃﻭ‪‬ﻻ‪ :‬ﺇﺷﻜﺎﻟﻴﺔ ﺗﺼﻨﻴﻒ ﺍﻟﻘﺼﺺ ﺍﻟﺸﻌﱯ‪..................................... ................................................... :‬‬
‫‪90‬‬ ‫ﺛﺎﻧﻴﺎ‪ :‬ﻭﺍﻗﻊ ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ ‪.................................................. ......................................... :‬‬
‫‪91‬‬ ‫‪ - 1‬ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﻭﻣﻔﻬﻮﻣﻪ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪................................................................... :‬‬
‫‪95‬‬ ‫‪ - 2‬ﺷﺮﻭﻁ ﺭﺍﻭﻱ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪......................................................................................... :‬‬
‫‪100‬‬ ‫‪ - 3‬ﺯﻣﻦ ﺣﻜﻲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ‪.................................... ...................................................... :‬‬
‫‪102‬‬ ‫ﺛﺎﻟﺜﺎ‪ :‬ﻣﻮﺿﻮﻋﺎﺕ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪........................................ .......................................................... :‬‬
‫‪106‬‬ ‫‪ - 1‬ﺣﻜﺎﻳﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ‪............................................................................................ :‬‬
‫‪108‬‬ ‫‪ - 2‬ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺘﺮﻓﻴﻬﻴﺔ ﺍﳍﺰﻟﻴﺔ ‪........................................ ..................................................... :‬‬
‫‪109‬‬ ‫‪ - 3‬ﺍﳊﻜﺎﻳﺎﺕ ﺍﻷﺧﻼﻗﻴﺔ ‪....................................................................................................... :‬‬
‫‪111‬‬ ‫‪- 4‬ﺣﻜﺎﻳﺎﺕ ﺍﳊﻴﻮﺍﻥ‪..................................................................... .......................................... :‬‬
‫‪114‬‬ ‫ﺭﺍﺑﻌﺎ‪ :‬ﻭﻇﺎﺋﻒ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻟﺪﻯ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﻌﱯ ﰲ ﺍﳌﻨﻄﻘﺔ‪...................................................‬‬
‫‪115‬‬ ‫‪- 1‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﺑﻮﻳﺔ ‪......................................... .............................................................‬‬
‫‪118‬‬ ‫‪- 2‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﺮﻓﻴﻬﻴﺔ‪........................................... ........................................................ ..............:‬‬
‫‪120‬‬ ‫‪- 3‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﻨﻔﺴﻴﺔ‪.................................................................................... ...............................:‬‬
‫‪122‬‬ ‫‪- 4‬ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﺜﻘﻴﻔﻴﺔ‪.............................................. ........................................................ ............:‬‬

‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ‪ :‬ﺍﳉﺎﻧﺐ ﺍﻟﺘﻄﺒﻴﻘﻲ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‬

‫‪- 204 -‬‬
‫‪125‬‬ ‫‪...................................................................... ..........................................................................‬‬ ‫ﻣﺪﺧﻞ‪:‬‬
‫‪131‬‬ ‫ﺃﻭ‪‬ﻻ‪ :‬ﺍﻟﺒﻨﺎﺀ ﺍﻟﻔﲏ ﻟﻠﺤﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪................................ ................................................................:‬‬
‫‪131‬‬ ‫‪ - 1‬ﺍﻟﻮﺻﻒ‪..................................................... .................................................................... .. :‬‬
‫‪138‬‬ ‫‪- 2‬ﺍﻟﺴﺮﺩ‪........................................................... .................................................................... .. :‬‬
‫‪140‬‬ ‫‪- 3‬ﺍﳊﻮﺍﺭ‪........................................................... .................................................................... .. :‬‬
‫‪143‬‬ ‫ﺛﺎﻧﻴﺎ‪ :‬ﺍﻟﺸﺨﺼﻴﺔ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪........................................................................................... .. :‬‬
‫‪146‬‬ ‫ﺛﺎﻟﺜﺎ‪ :‬ﺍﻟﺰﻣﻦ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪.............................. .................................................................... .. :‬‬
‫‪151‬‬ ‫ﺭﺍﺑﻌﺎ‪ :‬ﺍﳌﻜﺎﻥ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪................................................................................................. .. :‬‬
‫‪159‬‬ ‫ﺧــﺎﲤﺔ‪................................................................... .................................................................... .. :‬‬
‫‪161‬‬ ‫ﺍﳌﻼﺣﻖ‪......................................................................... .................................................................... ..‬‬
‫‪162‬‬ ‫‪- 1‬ﻣﻠﺤﻖ ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﻟﺸﺎﺋﻌﺔ ﰲ ﺍﳌﻨﻄﻘﺔ‪................................. .................................... :‬‬
‫‪201‬‬ ‫ﺍﻟﻔﻬـﺎﺭﺱ‪............................................................................ ....................................................... :‬‬
‫‪202‬‬ ‫‪- 1‬ﻓﻬﺮﺱ ﺍﻷﺷﻌﺎﺭ‪....................................................... ....................................................... :‬‬
‫‪203‬‬ ‫‪- 2‬ﻓﻬﺮﺱ ﺍﻵﻳﺎﺕ ﺍﻟﻘﺮﺁﻧﻴﺔ‪......................................................................... ........................:‬‬
‫‪204‬‬ ‫‪ - 3‬ﻓﻬﺮﺱ ﺍﻟﺮﻭﺍﺓ‪............................................................................................................... :‬‬
‫‪205‬‬ ‫ﻓﻬﺮﺱ ﺍﳌﺼﺎﺩﺭ ﻭﺍﳌﺮﺍﺟﻊ‪.............................................. .................................................................... ..‬‬
‫‪211‬‬ ‫ﻓﻬﺮﺱ ﺍﳌﻮﺿﻮﻋﺎﺕ‪...................................................... ......................................................................‬‬

‫‪- 205 -‬‬

 ‫ﻣﻠﺨﺺ ﺍﻟﺒﺤﺚ ﺑﺎﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‬
‫ﻳﺪﺭﺱ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻮﺿﻮﻋﺎ ﻫﺎﻣﺎ ﻣﻦ ﻣﻮﺍﺿﻴﻊ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ ﳑﺜﻼ ﰲ ﺍﳊﻜﺎﻳﺔ‬
‫ﺍﻟﺸﻌﺒﻴﺔ ‪.‬‬
‫ﺣﻴﺚ ﺃﻟﻘﺖ ﺻﺎﺣﺒﺘﻪ ﺍﻟﻀﻮﺀ ﻋﻠﻰ ﺑﻴﺌﺔ ﻣﻦ ﺑﻴﺌﺎﺕ ﺍﳊﻜﻲ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ ﻫﻲ ﺍﳌﺴﻴﻠﺔ‬
‫ﺭﺍﺑﻄﺔ ﺑﺬﻟﻚ ﺑﲔ ﻣﻌﻄﻴﺎﺕ ﺍﳌﻨﻄﻘﺔ ﺍﳉﻐﺮﺍﻓﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴﺔ ﻭﺍﻟﻔﻮﻟﻜﻠﻮﺭﻳﺔ‪،‬ﻭﺍﻹﻧﺘﺎﺝ ﺍﻷﺩﰊ‬
‫ﻹﻧﺴﺎﻥ ﺍﳌﻨﻄﻘﺔ ﺑﺎﻋﺘﺒﺎﺭ ﺃﻧﻪ ﻳﺼﻌﺐ ﺍﺳﺘﻘﺮﺍﺀ ﻫﺬﺍ ﺍﻹﻧﺘﺎﺝ ﺍﻷﺩﰊ ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﳌﻨﻄﻘﺔ ﻭﺃﻫﻠﻬﺎ‬
‫‪.‬‬
‫ﻭﺑﻔﻀﻞ ﺍﻟﻌﻤﻞ ﺍﳌﻴﺪﺍﱐ ﺃﻣﻜﻦ ﺍﻟﻮﻗﻮﻑ ﻋﻨﺪ ﲨﻠﺔ ﻣﻦ ﺍﳊﻘﺎﺋﻖ ﺫﺍﺕ ﺍﻟﺼﻠﺔ ﺑﻄﺎﺑﻊ ﺍﳊﻜﻲ‬
‫ﺍﻟﺸﻌﱯ ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﺒﺤﺚ ﰲ ﺍﳌﺴﻴﻠﺔ ﻛﻮﺍﻗﻌﻪ‪،‬ﻭﻣﻮﺿﻮﻋﺎﺗﻪ ﻭﻭﻇﺎﺋﻔﻪ ﻗﺪﻡ ﻟﻪ ﺑﻨﻮﺩ ﻣﻦ‬
‫ﺍﻟﺘﺤﻠﻴﻞ ﻭﺍﻟﺘﻤﺜﻴﻞ ﻭﺫﻟﻚ ﺍﻟﺘﺰﺍﻣﺎ ﻟﻠﺼﺪﻕ ﻭﺍﳌﻮﺿﻮﻋﻴﺔ ‪.‬‬
‫ﺑﻌﺪ ﺍﺧﺘﻴﺎﺭ ﻋﻴﻨﺎﺕ ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﰎ ﺍﺳﺘﻘﺮﺍﺀ ﻧﺼﻮﺻﻬﺎ ﺍﺳﺘﻘﺮﺍﺀ ﻋﺎﻣﺎ ﻳﺴﻌﻰ ﺇﱃ‬
‫ﺿﺒﻂ ﻫﻴﻜﻠﻬﺎ ﺍﳋﺎﺭﺟﻲ ﺃﻭﻻ ﰒ ﺍﺳﺘﻨﻄﺎﻕ ﻧﺼﻮﺻﻬﺎ ﺑﺎﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﻣﻘﻮﻣﺎ‪‬ﺎ ﺍﻟﻔﻨﻴﺔ ‪،‬ﺑﺪﺀ‬
‫ﺑﺎﻟﻮﺻﻒ ﺍﻟﺬﻱ ﻳﻠﻌﺐ ﺩﻭﺭﺍ ﰲ ﺍﻟﺘﺠﺴﻴﺪ ﻭﺍﻹﺑﺮﺍﺯ ﻭﺍﻹﻇﻬﺎﺭ ‪،‬ﺇﱃ ﺍﻟﺴﺮﺩ ﺍﻟﺬﻱ ﻳﻌﺪ ﻣﻦ‬
‫ﺃﻫﻢ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﻜﻮﻧﺔ ﻟﻠﻌﻤﻠﻴﺔ ﺍﻟﺴﺮﺩﻳﺔ ﰲ ﺍﳊﻜﺎﻳﺔ‪،‬ﺇﺫ ﻳﻘﻮﻡ ﻋﻠﻰ ﻧﺴﺞ ﺍﻟﻜﻼﻡ ﰲ ﺻﻮﺭﺓ‬
‫ﺣﻜﻲ ﻭﺻﻮﻻ ﺇﱃ ﺍﳊﻮﺍﺭ ﺍﻟﺬﻱ ﻳﻌﺪ ﺃﺳﺎﺳﺎ ﰲ ﺭﺳﻢ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺭﻓﻊ ﺍﳊﺠﺎﺏ ﻋﻦ‬
‫ﺃﺣﺎﺳﻴﺴﻬﺎ ﻭﻣﺸﺎﻋﺮﻫﺎ ‪.‬‬
‫ﺇﻥ ﺍﺳﺘﻨﻄﺎﻕ ﻧﺼﻮﺹ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﲟﻌﺰﻝ ﻋﻦ ﺷﺨﺼﻴﺎ‪‬ﺎ ﻭﺯﻣﺎ‪‬ﺎ ﻭﻣﻜﺎ‪‬ﺎ ﻓﻴﻪ ﻧﻮﻉ‬
‫ﻣﻦ ﺍﻹﺟﺤﺎﻑ ‪،‬ﺧﺎﺻﺔ ﻭﺃﻥ ﻫﺬﻩ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﻔﻨﻴﺔ ﻣﺮﺗﺒﻄﺔ ﺑﺒﻌﻀﻬﺎ ﺍﺭﺗﺒﺎﻃﺎ ﻭﺛﻴﻘﺎ ﻳﺘﺒﺎﺩﻝ ﻓﻴﻪ‬
‫ﺍﻟﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ ﺍﻟﺘﺄﺛﲑ ﻭﺍﻟﺘﺄﺛﺮ‪.‬‬
‫ﻭﺍﻟﺸﺨﺼﻴﺔ ﻫﻲ ﺍﻷﺧﺮﻯ ﻭﺍﻗﻌﺔ ﲢﺖ ﺗﺄﺛﲑﻫﺎ ﺍﳌﺰﺩﻭﺝ ‪،‬ﻭﻫﻲ ﺭﻛﻦ ﺃﺳﺎﺳﻲ ﰲ ﺃﻱ ﻋﻤﻞ‬
‫ﺣﻜﺎﺋﻲ ﺇﺫ ﻻ ﳝﻜﻦ ﺗﺼﻮﺭ ﺣﻜﺎﻳﺔ ﻣﻦ ﺩﻭﻥ ﺷﺨﺼﻴﺎﺕ ‪.‬‬

‫‪- 206 -‬‬

‫ﻋﻤﻮﻣﺎ ﻓﺈﻥ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺃﺭﺍﺩﺕ ﺑﻪ ﺻﺎﺣﺒﺘﻪ ﺍﻟﺘﻔﺎﺗﺔ ﻃﻴﺒﺔ ﺇﱃ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺍﳉﺰﺍﺋﺮﻱ ﻷﻧﻪ‬
‫ﺛﺮﻱ ﲟﺨﺘﻠﻒ ﺍﻟﻔﻨﻮﻥ ﻭﺧﺎﺻﺔ ﺍﻟﺴﺮﺩﻳﺔ ﻛﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﱵ ﺗﻔﺮﺩﺕ ﲜﻤﻠﺔ ﻣﻦ ﺍﻟﻮﺳﺎﺋﻞ‬
‫ﻟﻔﻨﻴﺔ ﺟﻌﻠﺖ ﻧﺼﻮﺻﻬﺎ ﺗﻌﺮﻑ ﺗﻜﺎﻣﻼ ﺗﻄﻮﺭﺍ ﻣﻨﻬﺠﻴﺎ ﻣﻊ ﻧﺼﻮﺹ ﺍﻟﺮﻭﺍﻳﺔ ﰲ ﺍﻷﺩﺏ‬
‫ﺍﻟﺮﲰﻲ‪.‬‬
‫اﻟﻜﻠﻤﺎت اﻟﻤﻔﺘﺎﺣﯿﺔ ﻟﻠﺒﺤﺚ ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﯿﺔ‬
‫اﻟﺤﻜﺎﯾﺔ اﻟﺸﻌﺒﯿﺔ‪ -‬اﻟﻤﺴﯿﻠﺔ – اﻷدب اﻟﺸﻌﺒﻲ ‪ -‬اﻟﻔﻮﻟﻜﻠﻮر‪ -‬اﻟﺘﺮاث اﻟﺸﻌﺒﻲ –‬
‫اﻟﻘﺼﺔ اﻟﺸﻌﺒﯿﺔ – اﻟﺮاوي اﻟﻨﺺ – اﻟﻤﺘﻠﻘﻲ ﻓﻼدﻣﯿﺮ ﺑﺮوب – اﻟﺸﺨﺼﯿﺔ اﻟﺤﻜﺎﺋﯿﺔ‬
‫– اﻟﺘﺎرﯾﺦ – اﻟﺸﻌﺮ اﻟﺸﻌﺒﻲ – اﻷﻏﻨﯿﺔ اﻟﺸﻌﺒﯿﺔ – اﻷﻣﺜﺎل اﻟﺸﻌﺒﯿﺔ ‪ -‬اﻟﺰﻣﻦ –‬
‫اﻟﻤﻜﺎن – ﺑﯿﺌﺔ اﻟﺤﻜﻲ ‪ -‬اﻟﻮﺻﻒ – اﻟﺴﺮد – اﻟﺤﻮار – اﻟﺒﻨﯿﻮﯾﺔ – اﻟﻌﺎدات و‬
‫اﻟﺘﻘﺎﻟﯿﺪ‬

‫‪- 207 -‬‬

 :‫اﻻﻧﺠﻠﯿﺰﯾﺔ‬ ‫ﻣﻠﺨﺺ اﻟﺒﺤﺚ ﺑﺎﻟﻠﻐﺔ‬
Summary of the research work in English:
This research paper deals with an important subject in the Algerian popular literature
which is the folk tale.
The writer highlighted one of the environments of the Algerian popular narrating that
is M’sila, as to link between the geographic, historic and folkloric characteristics of the
region with the literary production of the local people since it’s difficult to analyze this
literary work without considering the region and its inhabitants.
Thanks to this practical work, it was possible to acknowledge a set of facts linked
with the character of the popular narrating in the region of the research work, M’sila, like
its reality, its subjects and its functions.
The work is presented with a certain kind of analysis and exemplification taking into
account honesty and objectivity.
After choosing samples of popular tales and stories, their texts were read generally to
identify their global structure, then read a second time focusing on their artistic
characteristics starting with the description that plays an important role in the
personification and the presentation. Secondly, the narration which is considered as one of
the most important components in the narrative function of the story since it makes from
words a story and thirdly, the dialogue which is the base to the drawing of the characters
and unveiling their feelings and emotions.
Any analysis to the texts of folk tales without studying their characters, time and
place would be a kind of prejudice, especially because their artistic features are closely
linked to one another, and where place and time affect each other; the character is under
the effect of both of them and of course it is a basic part in any narrative work as it sounds
impossible to imagine a tale or a story without characters.
Generally, this research work was designed as a good gesture towards the Algerian
popular literature because it’s very rich with the different arts especially the narrative ones
like the folk tale that is distinguished with a set of artistic means which made its texts
know a systematic integration and evolution with the texts of the stories in the academic
literature.

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 ‫اﻟﻜﻠﻤﺎت اﻟﻤﻔﺘﺎﺣﯿﺔ ﻟﻠﺒﺤﺚ ﺑﺎﻟﻠﻐﺔ اﻷﻧﺠﻠﯿﺰﯾﺔ‬
KEY WORDS
Folk tal– msila – folk lore – popular heritage – popular
story –narrator – the text – the receiver – vladimir propp –
the caracter – time – place – the environment of the story –
the description – the narration – the dialogue –structural
– the customs and traditions

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 :‫ﻣﻠﺨﺺ اﻟﺒﺤﺚ ﺑﺎﻟﻠﻐﺔ اﻟﻔﺮﻧﺴﯿﺔ‬
Résumé du travail de la recherche en français :
Ce travail de recherche traite un sujet important dans la littérature populaire
algérienne qui est le conte populaire.
L’auteur de ce travail a mis la lumière sur l’un des environnements de l’histoire
populaire qui est M’sila pour faire le lien entre les caractéristiques géographiques,
historiques et folkloriques et la production littéraire des gens locaux puisqu’il est très
difficile d’analyser ce travail littéraire sans considération à la région et ses habitants.
Et grave à ce travail pratique, il était possible de trouver une série de données ayant un
lien avec le caractère de l’histoire populaire dans la région de recherche, M’sila, comme
son vécu, ses sujets et ses fonctions.
Ce travail est présenté avec une certaine analyse et exemplification tout en étant
honnête et objective.
Apres la sélection d’échantillons de contes et histoires populaires, leurs textes ont été
traité afin d’identifier leurs structures globales, puis relus une deuxième fois en concentrant
sur leurs aspects artistiques commençant par la description qui joue un rôle important dans
la personnification et la présentation. Ensuite vient la narration qui est considérée une des
plus importantes composantes de la fonction narrative des histoires puisqu’elle transforme
les mots en un conte, et en troisième lieux, ya le dialogue qui est la base qui montre les
personnages et dévoile leurs émotions et sentiments.
N’importe quelle analyse au textes des contes populaires sans l’étude de leurs
personnages, temps et lieux seraient un préjudice, surtout parce que leurs cotes artistiques
sont très relies les uns aux autres, et où le temps et l’espace affecte l’un l’autre, le
personnage lui-même est sous leurs influence à tout les deux et bien sure ce personnage est
la base même de toute histoires populaire. Il paraît incongru d’imaginer un conte sans
personnage.
Généralement, l’auteur de ce travail de recherche l’a voulu comme un bon geste
envers la littérature populaire algérienne qui est riche avec toutes sortes d’arts y compris
les narratives comme le conte populaire qui se distingue avec une série d’éléments
artistiques qui ont fait que ses textes connaissent une évolution et une intégration
systématique avec les textes des histoires dans la littérature académique.

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 ‫اﻟﻜﻠﻤﺎت اﻟﻤﻔﺘﺎﺣﯿﺔ ﻟﻠﺒﺤﺚ ﺑﺎﻟﻠﻐﺔ اﻟﻔﺮﻧﺴﯿﺔ‬
MOTS CLEFS
Conte populaire – m'sila – folklore – heritage populaire – hestoire
populaire – le narrateur – le texte – le recepteur – vladimir propp- le
personnage – le temps– le lieu – le milieu du conte– ladescription
– la narration – le dialogue – structurale – les traditions et les
coutumes.

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‫ﺗﻢ ﺑﺤﻤﺪ ﷲ‬

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